Universal Values of Prakrit Texts

Author(s): Prem Suman Jain
Publisher: Bahubali Prakrit Vidyapeeth and Rashtriya Sanskrit Sansthan
Catalog link: https://jainqq.org/explore/006701/1

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UNIVERSAL VALUES OF PRAKRIT TEXTS Prem Suman Jain

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The Prakrit canonical literature is very valuable as besides the teachings of Mahavira and his disciples. It also contains social and cultural material unknown from Sanskrit or Pali sources. Apart from Prakrit works on poetry, narratives, the Jaina canon and philosophy, there are innumerable secular writings in Prakrit and other languages on Grammar, Metre, lexicography, mathematics, astrology and Smusic, and other subjects as well. This kind of literature contains various new insights with regard to the Wisdom of India and Universal Values, which are presented in this volume by renowned Scholars. Jagadguru Karmayogi Swastishri Charukeerthy Bhattaraka Swamiji Jain Math, Shravanabelagola For Private Personal use only

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UNIVERSAL VALUES OF PRAKRIT TEXTS (Proceeding of the International Prakrit Seminar, Shravanabelagola) Chief Editor Prof. R.V. Tripathi Vice Chancellor, Rashtriya Sanskrit Santhan, New Delhi Editors Prof. Prem Suman Jain Director Bahubali Prakrit Vidyapeeth (R.) Shravanabelagola Dr. Shukla Mukharjee Project Officer Rashtriaya Sanskrit Sansthan New Delhi : Jointly Published by: Bahubali Prakrit Vidyapeeth (R.) National Institute of Prakrit Studies and Research Shri Dhavala Teertham Shravanabelagola - 573 135 Karnataka (India) Rashtriya Sanskrit Sansthan Deemed University Under the Ministry of HRD Govt. of India 56-57, Institutional Area, Janakpuri, New Delhi - 110 058.

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UNIVERSAL VALUES OF PRAKRIT TEXTS (Proceeding of the International Prakrit Seminar, Shravanabelagola) Editors Published by: Edition Distributor : Price DTP : : Coverpage : Printed at : Prof. Radha Vallabha Tripathi Prof. Prem Suman Jain Dr. Shukla Mukharjee Rashtriya Sanskrit Sansthan, New Delhi Bahubali Prakrit Vidyapeeth (R.), Shravanabelagola 2011 National Institute of Prakrit Studies and Research Shri Dhavala Teertham, Shravanabelagola 573 135 Karnataka (India) Tel: 08176 257228 Email: mynipsar@yahoo.co.in Rs. 1,200-00 Sachin Jain, NIPSAR Symbolic Shatleshya Tree of Jainism in Prakrit Texts & Palm Leaf Manuscript of Gommatasara, Shravanabelagola Driti Enterprises, Bangalore 560 085. Ph: 080 - 4143 4943/4171 1774 Email: prince_driti@rediffmail.com (ii)

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Gommatesh Thudi (in Prakrit with English Translation) gommaTesa thudi (iii)

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Gommatesh Thudi (in Prakrit) gommaTesa thudi visaTTa kaMdoTTa dalANuyAraM suloyaNaM caMdasamANa tuNDaM / ghoNAjiyaM caMpaya pupphasohaM taM gommaTesaM paNamAmi NiccaM / / 1 / / acchAyasacchaM jalakaMta-gaNDaM AbAhudolaMta sukaNNa pAsaM / gaiMda suMDujala bAhudaNDaM taM gommaTesaM paNamAmi NicvaM / / 2 / / sukaMThasohA jiya-divvasaMkhaM himAlayuddAma visaalkNdhN| supekkhaNijjAyala suTTha majjhaM taM gommaTesaM paNamAmi NicvaM / / 3 / / vijjhAyalagge pavibhAsamANaM sihAmaNiM svv-sucediyaannN| tiloya-saMto saya puNNacaMda taM gommaTesaM paNamAmi NicvaM / / 4 / / (iv)

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Gommatesh Thudi (English Translation) by Prof. B.K. Khadabadi 1. His eyes nicely petalled like a lilly, His face fair like the moon, And His nose lovelier than the campaka, Before that Lord Gommatesha ever I Kneel ! His person clothed with purity, cheeks clear like water, His graceful ears swinging close unto the shoulders, And His mightly arms resembling the trunk of king of King-tusker Before that Lord Gommatesha ever I kneel ! 3. His comely neck surpassing the divine conch, His lofty shoulders wide like the Himalayas, And His shapely waist so steady and spectacular, Before that Lord Gommatesha ever I kneel ! Glistening aloft at the crest of the Vindhyas The crowining glory of all the excellent images, And the full-moon exhilerating the triple world Before that Lord Gommatesha ever I kneel ! (V)

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layAsamakkaMta mahAsarIraM bhavvAvalIladdha sukapparukkhaM / deviMdaviMdacciya pAyapommaM taM gommaTe paNamAmi NiccaM // 5 // diyaMbaro jo Na ya bhIijutto Na cAMbare sattamaNo visuddho / sappAdi jaMtupphusido Na kaMpo taM gommaTesaM paNamAmi NiccaM // 6 // AsAM Na jo pekkhadi sacchadiTThi sokkhe Na vaMchA hayadosamUlaM / virAyabhAvaM bharahe visallaM taM gommaTesaM paNamAmi NicvaM // 7 // upahitaM dhAma - vajjiyaM susammajuttaM mayamohahArayaM / vasseyapajjaMtamuvavAsajuttaM taM gommaTesaM paNamAmi NicvaM // 8 // (vi)

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5. His colosal body clasped by creepers, The very wish-yielding tree for the myriod liberables, And His lotus-like feet adored by a host of chief gods, Before that Lord Gommatesha ever I kneel ! He is nude and immune from fear ! Of pure mind He has no liking for raiment ! And quite unmoved by the coiling serpents, Before that Lord Gommatesha ever I kneel ! 7. With pure vision and not looking at any quarter, His basic blemish banished, lure of weal vanquished And His combat with Bharata vonverted to aversion, Before that Lord Gommatesha ever I kneel ! 8. Unfettered by possessions all money and mansion, Equipped with equanimity quelling Pride and Greed, And fasting far for full twelve months, Before that Lord Gommatesha ever I kneel ! (vii)

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BLESSINGS The First National Prakrit Conference at Bangalore, on the 8th and 9th December, 1990, Second National Prakrit Conference in 1993 at Hydrabad and other National Prakrit Seminars organised by National Institute of Prakrit Studies and Research, Shravanabelagola were some steps for promotion of the Prakrit Studies. Bahubali Prakrit Vidyapeetha Trust is making inroads into hitherto neglected area of organising the varied and localised efforts are being made in the study of works in Prakrit, which we all know is among the richest languages. With a treasure comprising treatises on practically every field of knowledge. The Prakrit canonical literature is very valuable as besides the teachings of Mahavira and his disciples. It contains social and cultural material unknown from Sanskrit or Pali sources. It is also important from the point of view of the history and development of Indo-Aryan languages. Digambaras have their own tradition about their canonical literature. It is stated that Acarya Dharasena (between 613-783 years of Viranirvana, i.e. between 86-156 AD) knew a part of the 12 Angas. The monks Puspadanta and Bhutabali Later they composed the Chakkhandagama (Satkhandagama) under the guidance of Acarya Dharasena. Acarya Gunadhara, a contemporary of Dharasena, was another renowned Digambara scholar, equipped with the knowledge of a portion of the 12 angas. He is the author of the Kasayapahuda (Kasayaprabhruta) Apart from Prakrit works on poetry, narratives, the Jaina canon and philosophy, there are innumerable secular writings in Prakrit and other languages on Grammar, Metre, lexicography, mathematics, astrology and music, and other subjects as well. This kind of literature contains various new insights with regard to the knowledge and wisdom of Indian literature. (viii)

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Despite the efforts of Scholars dedicatedly involved in the task of editing and publishing the manuscripts available in Prakrit, for almost a century now, the language has received little importance from the Government and the concerned ministries. Though the ministry of HRD is providing some incentive facility to the Prakrit-Pali-Study through Rashtriya Sanskrit Sansthan New Delhi. There should be a positive approach in the policy-makers, as regards the priority and importance to be accorded to Prakrit visavis other old/ older language. Discrimination and neglect should stop. Rashtrapati Prashasti, State Awards and others such ways of encouraging scholars in Prakrit should be sought. And atleast one National Prakrit Sansthan should be established in the Country by the Centre Government and one National Prakrit Academy be Stated any were in India by State Govt. which will encourage the Prakrit Studies. We hope, that this International Prakrit Seminar, Shravanabelagola will suggest some positive step in this direction of reviving Prakrit and bringing it back into the mainstream of studies. We wish the Participants and the International Prakrit Seminar all success and look forward to the positive results of these deliberations. I am glad to know that research papers and lecturers presented in the International Prakrit Seminar, now are being published in the book form. I hope, this sincere efforts of authors and editors of the volume will throw a lot of light on the universal values of the Prakrit works and language. Jagadguru Karmayogi Swastishri Charukeerthy Bhattaraka Swamiji Shravanabelagola, Jain Math. (ix)

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D. VEERENDRA HEGGADE Shri Dharmasthala - 574 216 Karnataka Date : 30-09-2010 Massage I am happy to note that International Prakrit Seminar will be held at Shravanabelagola from 12th to 14th October 2010. I am glad that many reputed scholars from abroad will also participate in the Seminar. It is befitting that you will also publish a Souvenir on this happy occasion. I wish the publication all success and pray Lord Manjunatha Swamy to bless all the delegates. (D. VEERENDRA HEGGADE)

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J. KRISHNA PALEMAR Minister for Ecology, Environment, Ports & Inland Water Transport and Muzarai Room No. 141, 142, 1st Floor Vikasa Soudha, Bangalore - 01 Date : 05-10-2010 Massage I am glad to note that the National Institute of Prakrit Studies and Research, Shri Dhavala Teertham, Shravanabelagola is conducting a seminar on "Universal Values of Ancient Prakrit Texts" in collaboration with the Rashtriya Sanskrit Sansthan, Deemed University, New Delhi on 12th, 13th and 14th October 2010. I hope this seminar will enlighten on the origin and development of ancient language. From the records, one can significantly witness the Prakrit, and ancient language was so much popular during 600 BCE and 1000CE especially with Jainism heritage. Also I am much pleased to learn that more than twenty scholars from the various countries are participating in the seminar. I wish let this seminar be a grand success and be a forum to exchange many more valuable views and opinions. Thanking you, (J. KRISHNA PALEMAR) (xi)

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K.S. Prabhakar Secretary to Govt. Revenue Department (Disaster Management) Govt. of Karnataka, Bangalore 30th September, 2010. Massage I am very happy to know that the National Institute of Prakrit Studies and Research, Shravanabelagola is conducting a 2 days' International Prakrit Seminar at Shravanabelagola. The theme of the seminar is very apt to the modern times. Prakrit was the language of the common people during the ancient days and was a vehicle of expressing the aspirations and culture of common people of ancient India. Needless to say it is through this language that Bhagavan Buddha and Bhagavan Mahaveer preached the eternal values of spirituality which evoked tremendous response from the hoi polloi of ancient India. It is a commendable effort that the institute is highlighting the values of ancient Prakrit texts through this international seminar. I wish the seminar all success and also hope that the deliberations of the seminar will throw a lot of light on the eternal values of the old Prakrit texts and language. (K.S. Prabhakar) (xii)

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EDITORIAL The Prakrit language has a very significant place among the ancient languages of India. Linguists have classified the Indo-Aryan language group under the Indo-Iranian group of languages, and Prakrit is one Aryan language group in this family. In the gradual development of Indian languages Prakrit is related to almost all the languages in some form or the other. Its development in ancient times took place along with the people's languages. Since it developed out of the language of the common people and since it continued to be used by them, this language of the common people is called Prakrit. Prakrit was not only Mahaviras mother tongue but also of groups of common folk scattered over a broad area. It was for this reason that Mahavira and his contemporary other thinkers used Prakrit in their teaching for the enlistment of the culture of the people. By using Prakrit as the medium of their teaching they waved the flag of revolution in their diversified areas of the society of their times. Prakrit has gained renown by being the language of the Agamas and of the Indians. Prakrit literature is important not only for understanding the literature and philosophy of India but also for having a study of contemporary Indian society and culture. The social life of about one thousand years from 600 B.C. to 500 A.D. is reflected in the text of the Prakrit Agamas. Different cultural facts are explained into the commentaries of these Agamas. Since very few historical facts of this age are available, the subject matter on society, culture and polity etc., found in Prakrit texts have become more important. Therefore, we have to depend on these evidences of literature. There are exaggerations in some places in these works, yet they reflect reality more, which is necessary for the evaluation of the culture. It is imperative to have micro studies for the evaluation of the cultural material found in Prakrit literature and it is also essential to have the knowledge of the contemporary literature and it is also essential to have the knowledge of the contemporary literature of other traditions. (xiii)

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The heritage of Prakrit is an invaluable treasure of India. Innumerable works have been written in Prakrit for over 2500 years. These works in various fields of learning have greatly contributed to this treasure. The Prakrit language has a very significant place among the ancient languages of India. The history of Jainism after Lord Mahavira is recorded in the Jaina literature preserved in various Indian languages. The Jaina literature is a rich compendium of diverse subjects and is written in several Indian languages so as to reach all the people. The writings of Jaina acaryas are having "manifold attractions" not only for those in Jaina studies but for the lovers of literature, history, culture, philosophy, and comparative religion. Prakrit developed very gradually. By the first centuries of the Christian era Prakrit began to be respected from the cottages of the villages to the assemblies of courts, so much so that it was adopted as a powerful medium of communication in the society. By compiling the gathas of various Prakrit poets in his Gathasaptsati, the great poet Hala made Prakrit a language which can be used not only to depict village life but also for aesthetics. Kalidasa and other distinguished poets gave a prominent place to the role of Prakrit speakers in their dramas because of the attraction of the common people towards the Prakrit language. The poetic beauty and sweetness of the language is inherent in all the works written in Prakrit, such as the Agama texts, the commentarial literature, the narratives and the biographies. In these works Prakrit has maintained a continuity of these qualities throughout its life of 2300 years. The International Prakrit Seminar on "Universal Values of Ancient Prakrit Texts" was organized on 12th - 14th October 2010 at Shravanabelagola (Karnataka). This International Prakrit Seminar was organized jointly by the Bahubali Prakrit Vidyapeeth (R), Shravanabelagola and Rashtriaya Sanskrit Sansthan, Deemed University, under the Ministry of HRD, Govt. of India, New Delhi. The academic deliberations and research papers presentation by the Prakrit scholars of the world in this seminar have created a better understanding of the heritage of Prakrit languages and literature and its sound tradition. (xiv)

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I am extremely grateful to His Holiness Jagadguru Karmayogi Swasthishri Charukeerthy Bhattaraka Mahaswamiji for his benevolence and blessings in all activities regarding International Prakrit Seminar and its publications. I take this opportunity to thank all the Scholars who have generously contributed their papers for this volume. Some important articles of senior Prakrit Scholars have been also included in this volume for vide circulation. Some of the papers of participants could not be included in this volume due to non receipt of the same on time. I also gratefully acknowledge the generous support of all the authorities of the Ministry of HRD, Govt. of India and of the Rashtriaya Sanskrit Sansthan, New Delhi, specially Prof. R.V. Tripathi, Vice Chancellor and General Editor of the Volume for his full support and scholarly contribution, Prof. Ramanuj Devanath, Registrar and Dr. Shukla Mukherjee, Project Officer and Editor of the Volume, who were always with me in every work of the seminar. I am also expressing my sincere thanks to Prof. Hampa Nagarajaiah, Bangalore for his elderly and scholarly guidance and cooperation in organizing this International Prakrit Seminar and editing its Proceedings volume. I am also grateful to the concerned authoroties of the Govt. of Karnataka and the Board of Trustees of Bahubali Prakrit Vidyapeeth (R.), specially Shri M.J. Indra Kumar and Shri S. Jithendra Kumar for organization work and publication of the seminar volume. My thanks are due to staff members of the National Institute of Prakrit Studies and Research, Shravanabelagola and all the members of Organizing Committee of the Seminar specially Dr. Brahmananda and Sri Sachin Jain, Shri Shantisagar Shirahatti for DTP work this volume. I hope that the research papers presented in this first International Prakrit Seminar and the other academic activities performed in this event will provide a stimulus to Prakrit studies in the International world. Prof. Prem Suman Jain Editor and Director of the Seminar (XV)

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Prakrit Universal Values and Tradition pAiyabhAsA paraMparA titthaM suvIra-kharavela-asoga-dese joNhAgamesa bahaNADaga-kavva bhAsA / juttA hu pAiyapurA jaNa-jaNNa jAdA bolIu boli-avabhaMsa-su-ajja-bhAsA / / 1 / / amhe purA samaraNa- ma-suNANadhArI tesiM NirUvida-kadhA-thuI-sutta-gaMthA / te mullajIvaNa-suNediga-sikkha dIvA dhammassa daMsaraNa-suMdasaNa-ramma-kosA / / 2 / / taM ajjhaNeNa maha NANa-suvittha hoI bhUgola-joisa-rasAyana-dhAdu-NANaM / aAyAra-rAyaraNaigassa vi NANa-satthaM raTThassa sakkairahassa-ka kuMdappahA-guNadharA jai-vaTTakerA sAmI tu katikaiyo raNaimI-sivajA / taM hAla-hema-haribhadda vimalla Nemi puphpha sayaMbhu-vararui jiNa-thUlabhaddA / / 4 / / bAhubalIpAgada vijjapIDhaM bhaTaTAragaM siricarukiratiM payAse / antararaTTiya saMgoTThi belagole NaM dAhiNe avarido pAiya visso / / 5 / / kAvya - DaoN. udayacanda jaina (xvi)

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prAkRta bhASA paramparA 1. tIrthaMkara mahAvIra, samrATa azoka evaM khAravela ke upadezoM meM, AdezoM meM, aura dedIpyamAna AgAmoM meM prayukta tathA aneka nATaka aura kAvyoM kI bhASA, prAcIna, sAmAnya janoM dvArA prayukta samasta apabhraMza adi boliyoM kI Arya bhASA prAkRta hai / 2. prAcIna paramparA ke samatA aura jJAna ke dhArI hamAre zramaNoM ke dvArA kathA, stuti, sUtra Adi rUpa meM jo sRjita prAkRta grantha haiM ve jIvanamUlya, naitikatA aura darzana kA sAkSAtkAra karAne ke sundara koza haiM / 3. bhUgola, jyotiSa, rasAyana, vijJAna, AcAra, rAjanIti aura rASTra kI saMskRti-kalA aura jIvanamUlya ke rahasya ko prakaTa karane vAle jJAnamayI Una prAkRta granthoM ke adhGgana se hamArA jJAna suvistRta hotA hai / 4. prAkRta sAhitya ke guNadhara, kundakunda, sthUlabhadra, vaTTakera, yativRSabha, zivArya, jinabhadra, hAla, vimalasUri, haribhadra, svAmI kArtikeya, svayaMbhU, puSpadaMta, nemicanda siddhAntacakravartI, NemicandrasUri, evaM vararUci Adi pramukha racanAkAra haiN| 5. svAmI bhaTTAraka cArukIrti jI ke sadprayatnoM se zravaNabelagolA meM bAhubalI prAkRta vidyApITha ke tattvAvadhAna meM Ayojita isa aMtarASTrIya prAkRta saMgoSThI meM aisA prarIta hotA hai mAnoM prAkRta bhASA kI vizva paramparA hI dakSiNa bhArata meM avatarita huI hai / anuvAda : zrImatI DA. saroja jaina (xvii)

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prAkRta maNiyA~ tuMguM na maMdarAo, AgAsAo visAlayaM natthi / jaha jaha jayaMmi jANasu, dhammamahiMsAsamaM natthi / / 1 / / jaise jagat meM meruparvata se U~cA (kucha) nahIM, (hai, aura) AkAza se vistRta (bhI kucha) nahIM hai, vaise hI ahiMsA ke samAna (jagat meM zreSTha evaM vyApaka) dharma nahIM hai, (yaha tuma) jaano| savvesimAsamANaM hidayaM gabbho va svvstthaannN| savvesiM vadaguNANaM piMDo sAro ahiMsA du / / 2 / / ahiMsA hI sabhI AzramoM kA hRdaya aura sabhI zAstroM kA utpati-sthAna (AdhAra), sabhI vratoM kA sAra (tathA) sabhI guNoM kA samUha (hai)| kiM tAe paDhiyAe paya-koDIe plaalbhuuyaae| jaM ittiyaM na nAyaM parassa pIDA na kAyavvA / / 3 / / bhUse ke samAna (sArahIna) una karor3oM padoM (zikSA-vAkyoM) ko par3ha lene se kyA lAbha (hai), jo itanA (bhI) nahIM jAnA (ki) dasare ke lie pIDA nahIM karanI (paha~cAnI) caahie| savve vi guNA khaMtIi vajjiyA nevadinti sohaggaM / hariNaka-kala-vihUNA rayaNI jaha taaryddddhaavi||4|| kSamA (guNa) se rahita (anya) sabhI guNa saubhAgya ko prApta nahIM hote haiN| jaise- tAraka samudAya se yukta (bhI) rAtri kalAyukta candramA ke binA (zobhA ko prApta nahIM hotI hai)| (xviii)

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Contents 0 iii-vii Gommates Thudi (Prakrit English) - Prof. B.K. Khadabadi Blessing of H.H. Swamiji 0 viii-ix 0 Messages X-xii 0 Editorial xiii-xv 0 Prakrit Universal Values and Tradition xvi-xviii 0 Contents xix-xxi 0 Proceeding Report of the Seminar xxii-xxxiv 0 Glimpse of the Seminar 0 Welcome Speech - M.J Indra Kumar XXXV I Background of the Prakrit Studies 1. Literary and Philosophical Value of Prakrit Studies - Prof. A.N. Upadhye 2. Prakrit as a vehicle of philosophical thought - Prof. Natmal Tatia * 7 3. Prakrit Texts and Their role in Historical, Linguistics and Palaeography - Prof. L.C. Jain and Prabha Jain 11 II Inaugural Speech 4. The Others Voices - Prof. R.V. Tripathi III Research Papers 5. Manuscripts Puzzles - Prof. Nalini Balbir 6. Significance of Prakrit for Jaina Philosophy - Jayandra Soni, 7. Interrelation of Prakrit and Kannada Literature - Prof. Hampa Nagarajaiah 8. Samayasara : An attemt to formulate A Universal Code of Spiritualism - Prof. D.N. Bhargava (xix )

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9. Message of Peace and Non-Violence in Ayaro - Prof. M.R. Gelra 10. The Naya-stories in the Ardhamagadhi Agamas - Prof. R.P. Poddar 11. Rishibhasit: A Prakrit work of Universal values - Prof. S.M. Jain 12. Prakrit Commentator Adyatmi Balacandra 13. Some Distinctive Features of Pancastikaya - Dr. Kamala Hampana 14. Barasa Anupekhanam: An Introduction 15. Ethical Significance of Bhagavati Aradhana - Prof. Padmashekhar - Prof. Prem Suman Jain - Prof. Shubhachandra 16. Kasayapahuda of Gunadhara 17. Universal values of Samanasuttam Dr. Geeta Mehta 18. Mulacara: A Study - Dr. N. Suresh Kumar 19. The Pancastikaya: An Ancient Jain Work of Reality Prof. Nalini Joshi 20. Jaina Alchemy as reveald in the Prakrit Texts - Dr. J.C. Sikdar - Dr. Anekant Kumar Jain 21. Mandala concept in Jambudwipa Prajnapti - 22. prAkRta aura saMskRta kA antaH sambandha 23. abhimAnameru puSpadanta evaM unakA tisaTTimahApurANa Tejaswini Jangda prAkRta-hindI khaNDa - pro. rAdhAvallabha tripAThI - pro. rAjArAma jaina 24. prAkRta kA Ayurveda sAhitya eka mUlyAMkana DA. udayacaMda jaina - 25. dhammapada kI sArvabhaumikatA - pro. vijayakumAra jaina (xx) 71 82 92 101 106 117 121 131 135 150 160 167 174 180 187 202 210

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225 231 235 240 26. mahAkavi svayambhU aura unakA paumacariu - DA. saroja jaina 27. vissasaMtIe pavayaNapAhuDassa jogadANaM - pro. zreyAMsakumAra siMghaI 28. SaTkhaNDAgama : kA mUlyAMkana - DA. jayakumAra upAdhye 29. bhaTTArakoM kA prAkRta sAhitya ko avadAna - DA. kalpanA jaina 30. davyasaMgahe NiddiDhaM vissajaNINa mulladiTTI - DA. dharmendra jaina 31. karnATaka kI madhyamayugIna yazasvinI zrAvikAe~- pro. vidyAvatI jaina 32. cArudatta nATaka meM mAgadhI prAkRta kA vaiziSTya - DA. sudarzana mizrA 33. prAkRta kathA gnanthoM meM nihita vaizvika saMdeza - DA. rajanIza zuklA 34. agakhyAnamaNikozavRtti meM nihita vaizvika mUlya - DA. tArA DAgA 250 254 263 270 279 son (kannaDa khaNDa) 35.praakRt kthaa saahityd visheesstegllu - ddaa. eN.e. jycNdr 286 (Special Feature of Prakrit Narrative Literature - Dr. M.A. Jayachandra) 36.hodwad - 23 03/0p -. 20.D. roadpe 298 (Gommatasara - A Philosophical Text - Prof. B.S. Sannaiah) 0 Organising Institutions : a) Rashtriya Sanksrit Sansthan, New Delhi. 306 b) Bahubali Prakrit Vidyapeeth, Shravanabelagola 312 c) National Institute of Prakrit Studies and Reserch, Shravanabealgola 316 o Our Contributors 319 (xxi)

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Proceedings Report of the Seminar zravaNabelagolA meM prathama aMtarASTrIya prAkRta saMgoSThI sampanna bAhubalI prAkRta vidyApITha evaM usake aMtargata saMcAlita rASTrIya prAkRta adhyayana evaM saMzodhana saMsthAna, zravaNabelagolA tathA rASTrIya saMskRta saMsthAna, mAnita vizvavidyAlaya, mAnava saMsAdhana maMtrAlaya, kendra sarakAra, naIdillI ke saMyukta tatvAvadhAna meM prathama aMtarASTrIya prAkRta saMgoSThI kA Ayojana 12, 13 evaM 14 akTUbara, 2010 ko zravaNabelagolA meM sAnanda sampanna huaa| saMgoSThI kA pramukha viSaya thaa prAcIna prAkRta graMthoM ke vaizvika mUlya / saMgoSThI kA udghATana samAroha jagadaguru karmayogI svastizrI cArukIrti bhaTTAraka mahAsvAmI jI, zravaNabelagolA kI adhyakSatA meM sampanna huaa| pramukha atithi the - rASTrIya saMskRta saMsthAna, mAnita vizvavidyAlaya, naIdillI ke kulapati mAnanIya prophesara rAdhAvallabha tripaatthii| pro. tripAThI jI ne apane udbodhana meM kahA ki prAkRta bhASA evaM usakA sAhitya bhArata ke loka jIvana kI saMskRti ko ujAgara karane vAlA hai| prAkRta bhASA kA bhAratIya bhASAoM ke sAtha ghaniSTha saMbandha hai| saMskRta, pAlI, apabhraMza aadi bhASAoM ke sAhitya ko samajhane ke lie prAkRta kA jJAna bahuta upayogI hai| prAkRta sAhitya ke jIvana mUlya Aja ke vizva ko zAMti pradAna karane vAle haiN| vizva meM jarmanI Adi dezoM meM jo prAkRta sAhitya para kArya huA hai, prAkR vidvAnoM ko usakA upayoga karanA caahie| zravaNabelagolA kI yaha bAhubalI prAkRta vidyApITha prAkRta adhyayana ko vizva stara para pracArita kara rahI hai, isameM sarakAra aura samAja kA sahayoga apekSita hai| saMgoSThI kA udghATana satra lAla bahAdura zAstrI kendrIya saMskRta vidyApITha ke prAkRta bhASA vibhAga ke vibhAgAdhyakSa DaoN.jayakumAra upAdhye ke prAkRta maMgalAcaraNa se prAraMbha huA / zravaNabelagolA ke prAkRta vidyApITha ke kAryAdhyakSa zrImAn ema.je indrakumAra ne samAgata videzI aura bhAratIya prAkRta manISiyoM kA svAgata kiyaa| saMgoSThI ke nidezaka prophesara DaoN. prema sumana jaina ne vidyApITha dvArA samAyojita vigata prAkRta sammelanoM evaM saMgoSThIyoM kA vivaraNa dete hue, isa aMtarASTrIya prAkRta saMgoSThI ke pramukha viSaya kA pratipAdana kiyA / saMgoSThI meM videzoM se pro. eDelaheDa meTTe (jarmanI), pro. nalinI balavIra (phrAnsa), pro. johAnasa broMkahArsaTa (sviTajaralaiNDa), pro. jayendra sonI (mAravarga, jarmanI), pro. harmana Tikena ( nadiralaiNDa), pro. rAbarTa jeDinabosa (jarmanI), DaoN. lyUTagArDa sonI (jarmanI), zrImatI sArA phika (yU. esa. e.) evaM DaoN. evA mAriyA (myUnikha, jarmanI) sammilita hue| bhArata se samAgata lagabhaga sATha vidvAnoM meM pro. hampA nAgarAjayyA, baiMgalUru, samaNI DaoN. maMgalaprajJA, kulapati, lADanU~, pro. dayAnanda bhArgava, jayapura, pro. rAmaprakAza poddAra, pUnA, pro. zubhacandra, maisUru, pro. nalinI jozI, pUnA, pro. padmAzekhara, maisUru, pro. vijayakumAra jaina, lakhanaU, pro. zreyAMzakumAra jaina, jayapura, DaoN.kalpanA jaina, dillI, DaoN.bra. dharmendra jaina, jayapura, DaoN. anekAnta jaina, dillI, DaoN. rajanIza zuklA, dillI, DaoN. ena. surezakumAra, maisUru Adi pramukha haiN| karnATaka, mahArASTra evaM zravaNabelagolA ke prAkRta vidyApITha ke bhI kaI vidvAna saMgoSThI meM sammilita hue| (xxii )

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saMgoSThI ke udghATana satra meM myUnikha yUnivarsiTI ke DIna pro.rAbarTa jeDinabosa, jarmanI evaM jaina vizvabhAratI, lADanUM kI kulapati samaNI pro.DaoN. maMgalaprajJA ne apane udbodhana meM isa saMgoSThI ko prAkRta adhyayana ke vikAsa ko AdhAra pradAna karane vAlA Thosa kadama btaayaa| isa avasara para saMgoSThI kI smArikA, pro.prema sumana jaina kI aMgrejI pustaka prAkRta prAimara evaM pro.viliyama bolI, jarmanI kI pustaka ratnakaraNaDazrAvakAcAra (aMgrejI anuvAdita) kA lokArpaNa huaa| samAroha meM adhyakSaya udbodhana meM jagadagurU karmayogI svastizrI cArukIrti bhaTTAraka mahAsvAmI jI ne, zravaNabelagolA meM prAkRta bhASA ke vikAsa kI paramparA ko 3300varSa prAcIna batAyA / Apane kahA ki zrutakevalI bhadrabAhu ke samaya se isa bhUmi para niraMtara prAkRta bhASA ke sAhitya nirmANa evaM saMrakSaNa kA kArya hotA rahA hai| siddhAMtacakravartI AcAryazrI nemicandra ke prAkRta graMtha aura dhavalA TIkA ke tADapatrIya graMthoM kA yahA~ para saMrakSita honA isa bhUmi ke prAkRta prema ko darzAtA hai| ataH yaha aMtarrASTrIya prAkRta saMgoSThI prAkRta kI virAsata ko ujAgara karane vAlI hai| videzI vidvAnoM kA prAkRta adhyayana ke prati samarpaNa aura zodha kI paddhati anukaraNIya hai| prAkRta vidvAnoM kA nirmANa ho, Aja kI yaha prAthamika AvazyakatA hai| isa satra kA saMyojana pro.prema sumana jaina ne kiyA evaM rASTrIya saMskRta saMsthAna meM prAkRta ke adhyetA DaoN.rajanIza zuklA ne dhanyavAda jJApana kiyA / isa saMgoSThI meM udghATana evaM samApana satra ke atirikta anya pA~ca satra sampanna hue / unameM satroM kI adhyakSatA pro.nalinI balavIra(phrAMsa), DaoN.lyUTagArDa sonI(jarmanI), pro.sAgaramala jaina (zAjApura), pro.eDelaheDa meTTe (jarmanI) evaM pro.hampA nAgarAjayyA (baiMgalUru) ne kiyaa| pro.dayAnanda bhArgava, pro.mahAvIra rAja gelaDA, pro.Ara.pI.poddAra, pro.rAbarTa jeDinabosa (jarmanI), pro.samaNI maMgalaprajJA (lADanUM ),pro.kamalA hampanA (baiMgalUru) Adi sammanita atithi vidvAna upasthita rhe| pro.vijayakumAra jaina (lakhanaU), pro.jayendra sonI(jarmanI), pro.prema sumana jaina(udayapura), pro.zreyAMzakumAra(jayapura) Adi vidvAnoM ne saMyojana kiyaa| karnATaka sarakAra meM revenyU vibhAga ke sekreTarI zrImAn ke.esa.prabhAkara, AI.e.esa., pramukha atithi ke rUpa meM paMcama satra meM sammilita hue / Apane apane udbodhana meM kahA ki jaina AcAryoM kA bhAratIya saMskRti ke vikAsa meM mahatvapUrNa yogadAna hai| prAkRta janasAmAnya kI baaSA rahI hai| usakA sAhitya deza kI dharohara hai, jisakA saMrakSaNa aura pracAra-prasAra honA cAhie / bAhubalI prAkRta vidyApITha ke paramapUjya bhaTTAraka svAmI jI ke nirdezana meM mahatvapUrNa kAya kara rahI hai| sarakAra kA sahayoga aise kAryoM ko milanA caahie| zrI prabhAkara jI ne zravaNabelagolA ke bAhubalI prAkRta saMsthAna ko karnATaka sarakAra se milane vAle vArSika anudAna kI rAzi meM vRddhi kI ghoSaNA kI aura prAkR projekTsa ko sahayoga dena kA AzvAsana diyA / isa satra kI adhyakSatA karate hue paramapUjya svAmI jI ne kahA ki Aja pro.e.ena.upAdhye, pro.mAlavaNiyA evaM pro.hIrAlAla jaina jaise vidvAnoM ke kAryoM se preraNA lene kI AvazyakatA hai| prAkRta sAhitya kA itihAsa aMgrejI aura anya bhASAoM meM bhI honA cAhie / prAkRta kannaDa-aMgrejI DikzanarI kI AvazyakatA hai| prAkRta vizvavidyAlaya kI sthApanA meM sarakArI sahayoga apekSita hai| sAmAjika saMsthAe~ vizvavidyAlaya nahIM calA sakatI, lekina saMsthAoM ko isa dizA meM sakriya honA jarurI hai| (xxiii)

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saMgoSThI ke tRtIya satra meM dinAMka : 13-10-2010 ko sabhI vidvAnoM kI eka Avazyaka baiThaka rakhI gyii| usameM prathama vizva prAkRta sammelana ke Ayojana ke saMbandha meM vidvAnoM ne apane vicAra vyakta kiye| prAyaH sabhI vidvAnoM kI yaha rAya prathama vizva prAkRta sammelana 2012 meM pUrI taiyArI ke sAtha Ayojita ho| usameM do-tIna sau vidvAna AMntrita hoM, kintu zodhapatra 40 - 50 hI rakhe jAya, jinheM pUrva meM prApta kara liyA jAya / sammelana kI bhASA aMgrejI aura hindI ho, kintu anya bhASAoM ke lekhoM ke anuvAda kI bhI suvidhA ho / Ayojana meM rAjya evaM kendra sarakAra ke sahayoga ke sAtha samAja kA sahayoga liyA jAya, kintu Ayojana kisI pratiSThita prAkRta saMsthAna dvArA kiyA jAya, jisake pAsa isake lie pUrA oNphisa, sTaoNpha evaM sAdhana hoM / sammelana kA sthAna zAMtipriya, zaikSaNika vAtAvaraNa vAlA ho, jahA~ saMdarbha graMthAlaya kI bhI vyavasthA ho / paramapUjya svAmI jI ne isa baiThaka ke samApana kara kahA ki yaha prAraMbhika baiThaka hai, abhI isa viSaya para anya baiThakeM bhI ho sakatI hai| sammelana ke pUrva sabhI taiyAriyA~ karanA jarurI hai / : isa saMgoSThI meM nimnAMkita prAcIna prAkRta graMthoM para zodhapatra prastuta kiye gaye samaNI DaoN.maMgalaprajJA, lADanU~ pro. mahAvIra rAja gelar3A, jayapura pro. dayAnanda bhArgava, jayapura pro. rAjArAma jaina, noeDA pro. sAgaramala jaina, zAjApura 1. sUtrakRtAMga 2. AyAro 3. samayasAra 4. mahApurANa (apabhraMza) 5. isibhAsiya 6. paMcAstikAya 10. bArasa aNukkhA 11. kasAyapAhuDa 12. jJAtAdharmakathA 13. bhagavatI ArAdhanA 14. pravacanasAra 15. mahAkavi svayaMbhU kA sAhitya 16. paMcAstikAya : : 7. mUlAcAra 8. kannaDa sAhitya meM prAkRta gAthAe~ : 9. bhaTTArakoM kA prAkRta sAhitya : : : pro. kalpanA jaina, dillI pro. padmA zekhara, maisUru pro. zubhacandra, maisUru pro. Ara. pI. poddAra, pUnA pro. prema sumana jaina, udayapura pro.zreyAMzakumAra jaina, jayapura DaoN. saroja jaina, udayapura DaoN. anekAnta jaina, dillI : : : : : : pro. nalinI jozI, pUnA DaoN. ena. surezakumAra, maisUru pro. kamalA hampanA, baiMgalUru (xxiv )

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17. SaTkhaNDAgama : DaoN. jayakumAra upAdhye, dillI 18. prAkRta muktaka kAvya __: DaoN. rajanIza zuklA, dillI 19. dravyasaMgraha : DaoN.ba.dharmendra jaina, jayapura 20. mRcchakaTikaM : DaoN. sudarzana mizrA, jayapura 21. jambudvIpaprajJapti : tejasvinI jAMgaDa saMgoSThI meM pratibhAgiyoM ke nimna viSayoM para lekha AmaMtrita kiye gaye :22. tiloyapaNNattI : DaoN. anupama jaina, indaura 23. prAkRta zilAlekha : DaoN.ema.e.jayacandra, baiMgalUru 24. rayaNasAra pro.esa.pI.pATIla, sAMgalI 25. samaNasuttaM : pro.gItA mehatA, mumbaI 26. sanmatisUtra DaoN.je.bI.zAha, ahamadAbAda 27. dhavalA TIkA : DaoN.udayacandra, jaina, udayapura 28. vyavahAra bhASya : DaoN.yUmI phyUjI moTo, pUnA 29. prAkRta aura kannaDa sAhitya : pro. hampA nAgarAjayyA, baiMgalUru 30. videzoM meM prAkRta pANDulipiyA~ : pro.nalinI balabIra, phrAnsa 31. prAkRta ke dArzanika graMtha : DaoN. jayendra sonI, jarmanI 32. videzoM meM prAkRta sTaDI : DaoN.lyUTagArDa sonI, jarmanI 33. myUnikha meM prAkRta sTaDI 34. samarAiccakahA : samaNI Rju prajJA, lADanU~ 35. aMgabijjA : samaNI ramaNIya prajJA, lADanUM 36. SaTkhaNDAgama pro.esa.Ara.banarjI, kolakattA saMstutiyA isa saMgoSThI ke samApana satra meM sabhI pratibhAgI vidvAnoM ko phala-maMjUSA evaM zAla-hAra se sammAna kiyA gyaa| sabhI pratibhAgI vidvAnoM kI ora se pro.dayAnanda bhArgava,jayapura evaM pro.mahAvIra rAja gelar3A ne saMgoSThI kI nimnAMkita saMstutiyA~ prastuta kI, jinakA sabhI vidvAnoM ne samarthana kiyA - (XXV)

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1. karnATaka sarakAra ke Arthika sahayoga se bAhubalI prAkRta vidyApITha, zravaNabelagolA meM eka zrutakevalI bhadrabAhu rASTrIya prAkRta pustakAlaya zIghra sthApita kI jAya, jisameM vizvabhara meM prakAzita prAkRta, pAli, apabhraMza, saMskRta, hindI evaM kannaDa ke sabhI saMdarbhagraMtha upalabdha hoN| isase bhAratIya bhASAoM ke tulanAtmaka adhyayana ko bala milegaa| 2. kendra evaM rAjya sarakAra ke sahayoga se pUrNa anudAnita eka bAhubalI prAkRta vidyApITha (bAhubalI prAkRta vizvavidyAlaya) kI sthApanA zravaNabelagolA me kI jaay| isameM prAkRta,apabhraMza, saMskRta, kannaDa evaM hindI bhASAoM ke jaina sAhitya ke sAtha jaina itihAsa, saMskRti, kalA, zilAlekha evaM pANDulipi zAstra-zikSaNa evaM zodhakArya hogaa| 3. bhArata kI kendra sarakAra dvArA videzoM meM jahA~ para bhI bhArata ke rAjadUta (embeseDara) niyukta haiM, unake sAtha eka prAcyabhASAvida sahayogI adhikArI niyukta kiyA jAya, jo saMskRta, prAkRta, pAli Adi prAcIna bhASAoM evaM unake sAhitya kA jAnakAra ho| yaha adhikArI videzoM meM bhArata kI prAcIna saMskRti ke pracAra-prasAra ko bar3hAvA degaa| 4. kendra evaM rAjya sarakAra aura sAmAjika zodha saMsthAoM ke sahayoga se varSa 2012 meM bhArata kI kisI eka sAMskRtika nagarI meM prathama vizva prAkRta sammelana Ayojita kiyA jaay| isake lie abhI se eka Ayojana samiti gaThita kara usakA kAryAlaya sthApita kiyA jAya / saMgoSThI meM samAgata sabhI videzI evaM bhAratIya vidvAnoM ne yahA~ zrIkSetra zravaNabelagolA meM sasaMgha virAjamAna paramapUjya vidyAvAcaspati AcAryazrI 108 suvidhi sAgara jI mahArAja ke pAvana darzana kiye evaM unase vyaktigata tattvacarcA kA bhI lAbha liyaa| ( xxvi )

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shrvnnbellgolldlli prthm aNtrraassttriiy praakRt sNgoosstthi shrvnnbellgolld baahubli praakRt vidyaapiitth aNtrgt raassttriiy praakRt adhyyn mttu sNshoodhnaa sNsthe haaguu keeNdr srkaardiNd svaaytt vishvvidyaaly maanyte pddediruv hosdehliy raassttriiy sNskRt sNsthaan - ivugll sNyukt aashrydlli 12,13 mttu 14, akttoobr, 2010 rlli " praaciin praakRt grNthgll jaagtik mauly " eNb vissyd bgge shrvnnbellgolldlli mottttmodl aNtrraassttriiy praakRt sNgoosstthi aayoojitgoNdditu. shrvnnbellgolld dhrm piitthaadhiptigllaad prmpuujy jgdguru krmyoogi, dhrmjyooti svstishrii caarukiirti bhttttaark mhaasvaamiijiyvru ii sNgoosstthiy adhykssteynnu vhisuv muulk paavn saannidhyvnnu dypaalisiddru. ii sNgoosstthiynnu sNgoosstthiy mukhy atithigllaad raassttriiy sNskRt sNsthaand kulptigllaad pro.raadhaavllbh tripaatthi avru udghaattisidru. pro. tripaatthi avru tmm udghaattnaa bhaassnndlli praakRt bhaasse mttu adr saahityvu bhaartdeeshd look jiivnd sNskRtiynnu prkaashisuvNthddaagide. praakRt bhaasseyu bhaartiiy bhaasseglloNdige ghnisstthvaad sNbNdhvnnu hoNdide. paali, sNskRt mttu apbhrNsh ityaadi bhaassegll saahityvnnu tillidukolllllu praakRt bhaassey jnyaan atyNt agtyvaagiddu , bhu upyoogiyaagide. praakRt saahityd jiivn maulyvu iNdin vishvkke shaaNtiynnu niidduvNthddaagide. jrmni muNtaad deeshglllli praakRt saahityd bgge neddediruv kels-kaarygll jnyaan mttu laabh pddeybeeku. shrvnnbellgolld baahubli praakRt vidyaapiitthvu praakRt adhyynvnnu jaagtik mttttdlli prcaar - prsaargollisuttide. idkke srkaar mttu smaajgll shkaar apeekssitvaagide, eNdu nuddidru. - ii aNtrraassttriiy praakRt sNgoosstthiyu laal bhaaduur shaastri sNskRt vishvvidyaalyd praakRt vibhaagd adhykssraad ddaa.jykumaar upaadhye avr praakRt mNglaacrnndiNd shubhaarNbhgoNdditu. shrvnnbellgolld baahubli praakRt vidyaapiitthd kaaryaadhykssraad shriimaan eN.je.iNdrkumaar avru sNgoosstthige aagmisiruv bhaart haaguu hordeeshgll vidvnmnnigllge susvaagt kooridru. sNgoosstthiy nirdeeshkraad pro.ddaa.preem sumn jain avru sNstheyiNd iivrege aayoojitgoNddiruv praakRt sNgoosstthi mttu smmeellngll bgge vivr niiddutt , prstut aNtrraassttriiy praakRt sNgoosstthiy prmukh vissyvnnu prtipaadisidru. ii sNgoosstthiylli videeshglliNd prmukhvaagi pro.eelhedd metttte, (jrmni), pro.nlini blbiir (praans), pro.johaans bokhaarstt (svittjrlNdd), pro.jyeeNdr ( xxvii)

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soni (maarvrg, jrmni), pro.hrmn ttikn (nedrlNdd), pro.raabrtt jeddin boos (jrmni), ddaa.lyuuttgaardd sooni (jrmni), shriimti saaraa phik (yu.es.e.) haaguu ddaa.eevaa maariyaa (myuunik, jrmni) muNtaadvru haaguu bhaartdeeshdiNd sumaaru arvttu vidvaaNsrugllu aagmisiddru. avruglllli prmukhvaagi pro.hNp naagraajyy (beNglluuru), raajstaand laaddnuu jain vishvbhaarti vishvvidyaalyd kulptigllaad shrmnni ddaa.mNglprjnyaa, pro.dyaanNd bhaargv (jypur ), pro.raajaaraam jain (noyiddaa, dilli), pro.mhaaviir raaj gelddaa (jypur), pro.saagrml jain (shaajaapur), pro.kmlaa hNpnaa (beNglluuru), pro.raamprkaash poddaar (punaa),pro.shubhcNdr (maisuuru), pro.nlini jooshi (punaa), pro.pdmaa sheekhr (maisuuru), pro.vijykumaar jain (lkhn), pro.shreeyaaNskumaar jain (jypur), ddaa.klpnaa jain (dehli), ddaa.br.dhrmeeNdr jain (jypur), ddaa.aneekaaNt jain (dehli), ddaa.rjniish shuklaa(dehli), ddaa.en.sureeshkumaar (maisuuru) muNtaad aneek vidvaaNsrugllu aagmisiddru. krnaattk, mhaaraassttr mttu shrvnnbellgolld baahubli praakRt vidyaapiitthd aneek vidvaaNsrugllu sNgoosstthiylli paalgoNddiddru. raajstaand laaddnuuvin jainvishvbhaarti vishvvidyaaly kulptigllaad shrmnni pro.mNglprjnyaa haaguu jrmniy myuunik vishvvidyaalyd shaikssnnikaadhikaarigllaad pro.raabrtt jeddinboos avrugllu tmm udyoodneylli ii sNgoosstthiyu praakRt adhyynd vikaaskke prcoodne niidduvNth oNdu shaashvtvaad hejjeyaagide, eNdu shlaaghisidru. ii sNdrbhdlli smrnn - sNcike, pro.preem sumn jain avr praakRt paimr mttu jrmniy vidussi pro.viliym boli avr aaNglbhaassaanuvaadit rtnkrNddshraavkaacaar kRtigllu lookaarpnnegoNddvu. sNgoosstthiylli puujyshriigllvru tmm adhykssiiy bhaassnndlli praakRt bhaassey mhtvvnnu vivrisutt, shrvnnbellgollvu praakRt bhaassey muuru saavir muuru nuuru vrssgll praaciinvaad prNpreynnu hoNdide. shrutkeevl bhdrbaahu mhaamunigll kaaldiNd ii shrvnnbellgolld bhuumiy meele praakRt bhaasse mttu saahityd sNrkssnney kaarygllu nddeyutt bNdive. siddhaaNtckrvrtigllaagidd aacaary shrii neemicNdr munimhaaraajru vircisid praakRt grNth mttu dhvlaa ttiikey taallegriy grNthgllnnu illi sNrkssittttiruvudu ii bhuumiy praakRt bhaassaa preemvnnu suucisuttde. aaddriNd ii aNtrraassttriiy praakRt sNgoosstthiyu praakRtd prNpraagt vaibhvvnnu prkaashisuvNthddaagide. videeshiy vidvaaNsr praakRt adhyynd bgegin smrpnne (xxviii)

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mttu sNshoodhney pddhti anukrnniiyvaagide. praakRt vidvaaNsru nirmaanngolllluvudu iNdin praathmik avshykteyaagide eNdru. ii avdhiylli kaarykrmgllnnu pro.preem sumn jain niruupisidru haaguu raassttriiy sNskRt sNsthaand ddaa.rjniish shuklaa avru dhnyvaadgllnnu sllisidru. ii sNgoosstthiylli aidu avdhigllu nddedvu. avugll adhykssteynnu pro.nlini blbiir, ddaa.ttgaardd soni, pro.saagrml, pro.eeddelhedd motttte haaguu pro.hNp naagraajyy avrugllu vhisiddu, avuglllli pro.dyaanNd bhaargv, pro.mhaaviir raaj gelddaa, pro. raam prkaash poddaar, pro.raabrtt jeddinboos, shrmnni mNglprjnyaa, pro.kmlaa hNpnaa muNtaad snmaanit atithi vidvdvryru upsthitriddru. pro. vijy kumaar jain, pro.jyNddr soni, pro.preem sumn jain, pro. shreeyaaNskumaar jain muNtaad vidvaaNsru aa avdhiy sNyoojne maaddidru. krnaattk srkaard kNdaay ilaakhey kaarydrshiyvraad shrii ke.es.prbhaakr, ai.e.es. avru aidnee avdhiylli prmukh atithigllaagi paalgoNddiddru. shriimaan prbhaakr avru tmm bhaassnndlli jainaacaaryru bhaartiiy sNskRtiy vikaasdlli mhtvpuurnnvaad kodduge niiddiddaare. praakRt bhaasseyu jnsaamaanyr bhaasseyaagiddittu . adr saahityvu deeshd nidhiyaagide. adr sNrkssnne mttu prcaar - prsaarvaagbeeku. ii nittttinlli shrvnnbellgolld baahubli praakRt vidyaapiitthvu prmpuujy shriigllvr divy maargdrshndlli mhtvpuurnnvaad kaary maadduttide. iNth kaarygllige srkaard shaay doreybeekide, eNdu heellidru. ii sNsthege srkaarvu niidduttiruv vaarssik anudaanvnnu heccisuv mttu praakRt yoojnegllige shaay niidduv bgge aashvaasne niiddiddaare. ii avdhiy adhykssteynnu vhisiruv puujy shriigllvru tmm mNgl udyoodneylli pro. aadinaath neeminaath, upaadhye, pro. maalvnniyaa haaguu pro.hiiraalaal jainrNth vidvaaNsr saahityk seeveyiNd preernne pddeyuv agtyvide. praakRt saahity kaa itihaas eNb kRtiyu aaNgl mttu any bhaasseglllliyu anuvaadgolllluvudu upyuktvaagide. praakRt - knndd - aaNgl shbdkooshd avshykteyuu ide. praakRt vishvvidyaalyvnnu sthaapisuvudrlli srkaard shaay mttu shkaar apeekssitvaagide. saamaajik sNsthegllu vishvvidyaalyvnnu nirvhisikoNddu hooglu saadhyvill. aadre sNsthegllu ii disheylli kriyaashiilraagiruv agtyvide eNdu nuddidru. (xxix )

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sNgoosstthiy muurnee avdhiylli dinaaNk 13-10-2011rNdu smst vidvaaNsr oNdu mhtvpuurnnvaad sbhe aayoojitgoNddittu . aa sbheylli prthm vishv praakRt smmeellnvnnu aayoojisuv bgge vidvaaNsru tmm - tmm abhipraaygllnnittru. prthm vishv praakRt smmeellnvnnu sNpuurnn vyvstheglloNdige 2012rlli aayoojisbeekeNbude smst vidvaaNsr abhipraayvaagittu . adrlli innuurdiNd munnuuru vidvaaNsrnnu aamNtrisbeeku mttu sNshoodhnaa ptrgllu 40 riNd 50kke siimitvaagiddu, avugllnnu puurvdlliyee tresikollllbeeku. smmeelldlli sNshoodhnaa ptrgllnnu prstut pddisuv bhaassaamaadhym aaNgl mttu hiNdi aagiddu, any bhaassey leekhngllnnu anuvaadisuv vyvsthe maaddbeeku. smmeellnvnnu aayoojisuvlli raajy mttu keeNdr srkaargll shaay mttu shkaar haaguu jain smaajd shkaarvnnuu pddeybeeku. aadre ii smmeellnvnnu aayoojislu susjjitvaad kaaryaaly, sibbNdi, saadhn ityaadi ellaa trhd vyvsthegllnnu hoNdiruvNth prtisstthit praakRt sNsthaand muulkvee smmeellnvnnu aayoojisbeeku. smmeellnkke shaaNtiyut mttu shaikssnnik vaataavrnnvullll sthllvaagirbeeku. alli sNshoodhaantmk grNthgllullll grNthaalyd agtyvide, eNdu hlvu vicaargllnnu vidvaaNsru vyktpddisidru. ii sbhe aarNbhikvsstte, innuu ii vissydlli aneek sbhegllnnu nddeslaaguvudu. smmeellnkke tkk ellaa riitiy vyvsthegllu modlee aaguv avshykte, eNdu puujyshriigllvru tillisidru. ii aNtrraassttriiy praakRt sNgoosstthiylli prstut pddisiruv sNshoodhnaa leekhngllu mttu vidvaaNsr hesru ii kellginNtide : 1. suutrkRtaaNg 2. aayaaroo 3. smysaar 4. mhaapuraann (apbhrNsh) 5. isibhaasiyN 6. pNcaastikaay 7. muulaacaar 8. knndd saahity mee praakRt gaathaaee 9. bhttttaarkoo kaapraakRt saahity 10. baarsannuvekttraa 11. ksaaypaahudd shrmnni ddaa. mNglprjnyaa pro. mhaaviir raaj gelddaa pro. dyaanNd bhaargv pro. raajaaraam jain pro. saagrml jain pro. nlini jooshi ddaa. en.sureeshkumaar pro. kmlaa hNpnaa ddaa. klpnaa jain pro. pdmaasheekhr pro. shubhcNdr (XXX )

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12. jnyaataadhrmkthaa pro. raamprkaash poddaar 13. bhgvtii aaraadhnaa pro. preem sumn jain 14. prvcnsaar pro. shreeyaaNskumaar jain 15. mhaakvi svyNbhuu kaa saahity ddaa. srooj jain | 16. pNcaastikaay ddaa. aneekaaNt jain 17. ssttttNddaagm ddaa. jykumaar upaadhye 18. praakRt muktk kaavy ddaa. rjniish shuklaa 19. drvysNgrh ddaa. br.dhrmeNdr jain 20. mRcckttikN ddaa. sudrshn mishraa 21. assttpaahudd ddaa. aanNdkumaar jain ii sNgoosstthiylli bhaagvhisiruv vidvaaNsriNd aamNtrisiruv leekhngllu ii kellginNtive:22. tilooypnnnn ddaa. anupm jain 23. praakRt shilaaleekh ddaa. eN.e.jycNdr 24. rynnsaar pro. es.pi.paattiil 25. smnnsuttN pro.giitaa mehtaa 26. snmtisuutr ddaa. je.bi.shaah 27. dhvlaa ttiikaa ddaa.udycNdr 28. vyvhaarbhaassy ddaa.yuumiipyuujii moottoo 29. praakRt aur knndd saahity pro.hNp naagraajyy 30. videeshoo mee praakRt paaNddulipiyaa pro.nlinii blviir 31. praakRt kee daarshnik grNth ddaa. jyeeNdr sooni 32. videeshoo mee praakRt adhyyn ddaa. lyuuttgaardd sooni 33. myunikh mee praakRt sttddii ddaa.raabrtt jeddinboos 34. smraaicckhaa shrmnni riitu prjnyaa 35. aNgvijnyaa shrmnni rmnniiy prjnyaa 36. ssttttNddaagm pro.es.aar.beenrji (xxxi)

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ii aNtrraassttriiy praakRt seeminaarn smaaroop smaarNbhd avdhiylli sNgoosstthiylli bhaagvhisiruv smst vidvaaNsrnnu snmaanislaayitu. bhaagvhisiruv smst vidvaaNsr prtinidhiy ruupdlli pro. dyaanNd bhaargv haaguu pro.mhaaviir raaj gelddaa avru sNgoosstthiylli prstutpddisiruv vicaargllnnu ii kellginNte tillisidruH1. krnaattk raajy srkaard aarthik shaaydiNd shrvnnbellgolld baahubli praakRt vidyaapiitth aavrnndlli shrutkeevli bhdrbaahu raassttriiy praakRt grNthaaly shiighrdlli sthaapisbeekaagide. adrlli vishvdaadyNt prkttgoNddiruv praakRt, paali, apbhrNsh, sNskRt, hiNdi mttu knndd bhaassey ellaa sNshoodhnaatmk kRti lbhyvirbeeku. idriNd bhaartiiy bhaassegll taulnik adhyyn maaddlu shkaarvaaguttde. 2. keeNdr mttu raajy srkaargll shaaydiNd sNpuurnn anudaanit baahubli praakRt vidyaapiitth (baahubli praakRt vishvvidyaaly)vnnu shrvnnbellgolldlliyee sthaapisbeeku. adrlli praakRt, apbhrNsh, sNskRt, hiNdi, knndd bhaassey jainsaahity doNdige jain itihaas, sNskRti, kle, shaasn mttu hstprtishaastrgll shikssnn haaguu sNshoodhnaa kaary nddeylide. 3. bhaartd keeNdr srkaard muulk videeshglllli niyuktigoNddiruv raajduut (aNbaasiddr)roNdige praakRt, sNskRt, paali ityaadi praaciin bhaasse mttu avugll saahityvnnu tillidiruv obbru praacybhaassaatjny (Expert in Indology) rnnu avr shaayk adhikaariy ruupdlli niyuktigollisbeeku. aa adhikaarigllu videeshglllli bhaartd praaciin sNskRtiy prcaar - prsaarkke prcoodne niidduttaare. 4. keeNdr mttu raajy srkaar haaguu saamaajik sNshoodhnaa sNsthegll shkaardiNd bhaartd yaavudaadroNdu saaNskRtik ngrdlli prthm vishv praakRt smmeellnvnnu 2012rlli aayoojisbeeku, adkkaagi iiginiNdlee aayoojk smitiynnu niyuktigollisi, adr kaaryaalyvnnu sthaapisbeeku. sNgoosstthiylli aagmisiruv smst deesh mttu videeshd vidvaaNsru shriiksseetrdlli viraajmaanraagiruv prmpuujy vidyaavaacspti aacaary shrii 108 suvidhi saagr jii muni mhaaraajr paavn drshn pddedu, avroddne vyktigt dhaarmik crce maaddi, dhrmlaabh pddedru. (Xxxii )

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First World Prakrit Conference Report of the First Preliminary Meeting A preliminary meeting of the First World Prakrit Conference was held on 13th October 2010 at 11-30 to 12-30 noons in the Kanaji Yatrikashrama Hall at Shravanabelagola on the occasion of International Prakrit Seminar in the Holy Presence of His Holiness Jagadguru Karmayogi Swasthishri Charukeerthy Bhattaraka Mahaswamiji, Shravanabelagola. Prof. Dr. Prem Suman Jain, Director, NIPSAR, Shravanabelagola and Director of the International Prakrit Seminar put up the background and need to hold the 'First World Prakrit Conference' (WPS) in India. He invited suggestions from the scholars' delegates. The following scholars have expressed their views in this regard: Prof. Hampa Nagarajaiah, Bangalore threw light on the work done for the Prakrit Studies in NIPSAR in last 15 years. He expressed his view that the future of Prakrit study is bright. He suggested that the First World Prakrit Conference should be held in November 2011 at Shravanabelagola or Bangalore. 2) Prof. Dr. Dayanand Bhargava, Jaipur said that Prakrit was the mother tongue of Lava and Kush as their mother Sita always spoke in Prakrit. WPC should be held at Shravanabelagola as it is the best place for academic discussion. Full papers in advance should be invited before the conference and at least 30 minutes time be given to each paper presentation. WPC should be organized sometime in January 2012, in connection with the 15th world Sanskrit Conference to be held at Delhi. 3) Prof. Sagarmal Jain, Shajapur suggested that the place of WPC may be avanabelgola or Ladnun and it should be organized in January 2012. There must be full office and staff for this WPC in the host Institution. The budget of about two crore rupees is needed for this WPC. 4) Prof. Jayendra Soni, Marburg, Germany has suggested that WPC should be orga nized in the 1st Week of October 2012, as it is break time in the academic Institu tions abroad. 5) Prof. Nalini Balbir, Paris, France said that there must be only one general section in WPC so the participation in all papers is possible. Only 45-50 papers should be presented in three days. There must be one organization committee and its office in some reputed Prakrit Institution in India. All prominent Prakrit texts, inscriptions and Manuscripts may be the subject of WPC. (xxxiii)

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6) Shri S. Jitendra Kumar, Chairman of the Karnataka Jain Association, Bangalore has suggested that WPC should arranged separately, not connected with world Sanskrit Conference. It should be organized in South India. Bangalore or Shravanabelagola may be the place. 7) Prof. Dr. Mahaveer Raj Gelra, Former Vice Chancellor, Jain Vishwa Bharati, Ladnun has suggested that Jain Society and prominent Jain monks should be associated with this WPC. Political leaders should also be invited in this WPC. The medium of the WPC be English and Hindi. Let us first think that what gain will be of this WPC for Prakrit Study?, then we should think it's organization aspect. 8) Prof. Dr. Raja Ram Jain, Noida said that UGC and HRD should be associated with this WPC. There must be Prakrit Manuscript Exhibition in this WPC. Medium of the WPC should be English and Hindi. 9) Prof. Robert Zydenbos, Munich, Germany has suggested that we should survey the Prakrit Study in abroad and make lists who are Prakrit scholars, whom should be invited in WPC. The official language of WPC must be English. Full papers be invited before the conference and they should be edited for presentation. At least 2-3 years is required for the preparation. 10) Prof. Shreyans Kumar Jain, Jaipur has suggested that WPC should be organized without Jain society and political leaders. The medium of WPC may English, Hindi and Prakrit. 11) His Holiness Jagadguru Karmayogi Swasthishri Charukeerthy Bhattaraka Mahaswamiji has shared his experience of WCRP and ACRP. He suggested that translation system should be provided in WPC, so there may be English, Hindi and other Indian languages papers in WPC. At least scholars of six countries should invited in the WPC to give the shape of World or Global. There must be six sections in WPC like - Language, Literature, Manuscripts, Inscriptions, HistoryCulture and Philosophy. There should be book exhibition and art exhibition in WPC. We should take some time for preparation to organize this WPC. So there must be i) Academic Committee ii) Organization Committee and iii) Finance Committee. The assistance of State and Central Govt. is essential for such great event. Paramapujya Swamiji has also suggested that atleast 100 Prakrit books be published with English translation before the WPC. Suggestion for this WPC may be invited in writing also from other scholars. Here some views are expressed in this regard, decision will be taken in due courses and by proper authority, The meeting ended with thanks to all the scholars. Report : Prof. Prem Suman Jain, Director, NIPSAR, Shravanabelagola (xxxiv )

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Welcome Speech Before welcoming you all I offer my most respectful pranams to his Holiness Jagadguru Karmayogi Syadwada Sidhantha Chakravarthi Swastishree Charukeerthi Bhattaraka Mahaswamiji, who is the main force behind this Seminar. I deem it a great pleasure to welcome Prof R. V. Tripathiji, Vice Chancellor, Rashtriya Sanskrit Sanstan, New Delhi, who has graciously accepted our invitation to deliver the Inaugural speech. I extend a warm welcome to Prof. Adelheid Mette, Germany, Prof. Robert Zydenbos, Germany and Prof. Nalini Balbir, Paris, who are kind enough to accept our invitation to grace this occassion as Guest Speakers in this Inaugural Session What a pleasant and memorable day it is! In a Holy and serene place like this. We are at the revered foot of world renowned Gomateshwara Bhagawan Bahubali. The whole place is reverberating with scenic beauty, supreme power and message of peace and non-violence to the entire world. How fortunate we are to be a part of this Holy atmosphere and to participate in this International Prakrit Seminar on 'Universal Values of Ancient Prakrit Texts' organised by Bahubali Prakrit Vidyapeeth, in collaboration with Rashtriya Sanskrit, Sansthan Deemed University, New Delhi, in the Holy presence of Swamiji, which starts from today and extends for two more days. The National Institute of Prakrit Studies and Research, Shravanabelagola was established and inaugurated by the then President of India during the Maha Masthakabhisheka held in the year 1993. It is the vision of His Holiness Swamiji to develop the Prakrit Institute at National as well as International level. It is the vision of Poojya Swamiji to establish Bahubali Prakrit University and to obtain the status of Deemed to be University to Bahubali Prakrit Vidyapeeth at Shravanbelgola. Poojya Swamiji has already instituted Awards at International, National and State level and conferred Awards to the renowned personalities. Poojya Swamiji has renovated old temples and has built, children hospital apart from a mobile hospital for the surrounding villages. Poojya Swamiji has given more importance to education, is running educational institutions starting from nursery to college level and also Engineering and Polytechnic Colleges. Swamiji is providing well furnished hostels for boys and girls. Arrangements are made for daily worship of all the temples on the two hills and in the town. Swamiji is providing free food for all the devotees. Now there is accommodation for more than 1000 people with modern facilities and also old age home. During 1981, 1993, 2006 world renowned Maha Masthakabhisheka of Bhagawan Bahubali were celebrated under Holy presence and efficient guidance. (XXXV )

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Textend a hearty warm welcome to distinguished Guests of Honour, Chair persons, Conveners, Delegates from India and Abroad and Eminent Scholars who are presenting their papers in various sessions of this seminar. I also extend hearty welcome to the members of press & media, all dignitaries, invitees, Trustees of BPV S.E.T. and the entire staff members of NIPSAR & Jain muth who have toiled hard to bring this historical event to a grand success. Once again my respectful pranams to our poojya Swamiji for giving me this rare and memorable and coveted opportunity to welcome you all. With the blessings of Swamiji, I am sure you will all have a pleasant stay in this holy and serene atmosphere of Shravanabelagola. I hope, your academic and intellectual efforts done in this seminar will enrich the Jainological and Prakrit Studies in future. Thank you all once again. Sri M.J. Indra Kumar Working President Bahubali Prakrit Vidyapeeth (R.) Shravanabelagola. ( Xxxvi )

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everyone Glimpses of the International Prakrit Seminar Shravanabelagola Geges ese Vecue, INTERNATIONAL PRAKRIT SEMINAR on Universal Values of Ancient Paris Tests 12" 15" 16 October 2016 GOS40 to 3 and nuddar H.H. Swamiji with Guest Scholars in Inaugural Session Scholars Gathering INTERNATIONAL PRAKRIT SEMINAR Inauguration by Prof. R.V. Tripathi GROSSSSSSS

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QINTERNATIONAL PRAKRIT SEMINAR Unive Cha Cha Cha Cha Cha Cha Cha Cha Cha Cobagus Releasing of Prakrit Souvenir INTERNATIONAL PRAKRIT SEMINAR Values at Act hit Tests Releasing of Prakrit Primer INTERNATIONAL PRAKRIT SEMINAR Acest Pull Tes PHONGINE SEMINAR WATERWER HTPA tes Paper presentation by Prof. D.N. Bhargava in the Session Wo Di Di Jiu Ye esves

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INTERNATIONAL TRAINIT VET on Universal Values of Ancient Prakrit Texts Odber PaceShavanabelagola os en doTETT h - tamil ast Deco BUGURUCUSU Cover Gigy C OUL Sessional Chairman Speech by Prof. Adelaheid Mette Participants of the Seminar INTERNATIONAL PRAKRIT SEMINAR on Universal Values of Ancient Pokrit Texts G od social Blessings of H.H. Swamiji in the Valedictory Function concrescencinescenceses

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NTERNATIONAL PRAKRIT SEMINAR Universal Values of Ancient Texts Hint maaraa Honouring to Dr. Robert J. Zydenbos by Working President of B.P.V. and the Director Group Photo of the Participants International Prakrit Jnanabharti Award function after concluding session of the Seminar. mababababababoy concessions

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I. Background of the Prakrit Studies 1. LITERARY AND PHILOSOPHICAL VALUE OF PRAKRIT STUDIES - Late Prof. Dr. A.N. Upadhye By Prakrit Studies we understand the studies in Prakrit Languages and literature; and we are asses their literary and philosophical value. They are an inseparable part and parcel of Indian Languages and literature; so they cannot be isolated altogether, though a specialist might concentrate more attention on some branch of studies or the other. To put it plainly, an earnest student of Prakrit Languages has to study them in relation to Sanskrit on one hand and to Modern Indian Languages on the other. Prakrit Languages clearly show different layers with reference to time and locality; and on them depends their closeness to Sanskrit or the other modern Indo-Aryan Languages. There is a two-fold approach to the study of Prakrit. A modern linguist is interested in the formal study of Language and its internal structure; and today, this branch of study is taking quick strides, especially in the U.S.A. A philologist is interested in the study of the text; he is concerned not only with the Language and its structure, but also studies it as a piece of literature in which are reflected many aspects of the culture and civilisation, of the sum-total of the life of people who used that particular Language or dialect. We have to adopt both these points of view in our Prakrit studies. When the Prakrit grammarians define the term Prakrit, they are doing it in relation to Sanskrit; but it is accepted by all now that common, their usage in literature is erected by men of letters many of whom were well-versed in Sanskrit. Prakrit have a greater advantage over Sanskrit in achieving Slesa, because the same word can stand for more than one

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Sanskrit word, and can also have more than one meaning as in Sanskrit. Prakrit - Kavyas are replete with poetic imagery. There are upamaas, utpreksas like Kalidas who is unsurpassed in his upamas. Pravarasena and Vakapti, it is being detected, have lent many of their ideas and image to subsequent Sanskrit poets; it is only lately that these author have falled into neglect, because Prakrit came to be neglected in our classical equipments. There is another branch of Prakrit literature dealing with two purusarthas, Artha and Kama, with more slant on the latter. The great representative of this branch is the Gahakoso of Hala. Every verse is a self-sufficient unit, depicting an idea or situation in words, remarkably colourful and catching and at the same time, full of poetic charm and grace of expression, These are popular songs, but pandits attached to royal courts seem to have refined many of them; it is said that crores of such songs were current in society; and out of them only seven hundred were put together by Hala, taking into account the urban taste. They pervade many aspects of rural life: the scenic background, the environments, the routine of life the characters, the custom etc. primarily reflect the village life and folklore. In some of the texts on poetics Prakrit verses are so badly preserved that special efforts of scholars are needed to restore the correct text. As a secular text, the Gahaakoso stands unparallelled in its popularity, like the Bhagavad Gita in the religious world; both of them have 700 verses. The Muktaka poetry is like piece of pungent pickle which waters the mouth and heightens the appetite for more. Being often an arthantara-nyasa it contains a lot of wordly wisdom, many gifted poets tried their hand on when authors of religious aptitude came to handle this Muktaka poetry, they used predominantly religious thems, because they were out to teach moral -2

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lessons. The Vajjalaggam is a good illustration. The Gathasahasri is not only religious, but full of dogmatic discourses. Just as Alankara works quote Hala, one can find many verses of this type, generally Arthantaranyasa, scattered throughout the narrative literature in Prakrit, for instance, in the Kuvalayamala, etc. In the Prakrit commentaries, in stories Dharmakathas, biographies of great men, etc., we find, in plenty, folk-tales, parables and allegories which show a deeper sense of understanding human weaknesses and strong points and attempt to convey some moral lesson that men might behave better and be worthy citizens. We get plenty of them in works like the Curnid, Samaraiccakaha, etc. The Dhurtakhyana of Haribhadra is a unique satlre in Indian literature. The authour is gifted satirist; and he is out to despel the credulity with which the the epic writers have fed the human mind, Haribhadra wants us to be rational to core; and truth cannot be searched and reached without being rational. The Prakrit language and literature essentially and basically preserve the common man's culture; and if the common man is to be addressed, the Prakrit are the best vehicle. That is why Mahavira, Buddha, Asoka and Kharavela choose Prakrit. For detecting the common man's cultural traditions, perhaps Apabhramsa language and literature have greater value than other layers of Prakrits. Dr. S.K. Chatterjee has shown, in one of his papers, how the Prakritic forms persisting in M.I.A. are valuable in studying the Puranic legends and their subsequent transformation. The Language of the Puranas, the Buddhist Sanskrit texts and some Jaina Sanskrit texts clearly show how Prakrits, and the common man's Language are influencing them. A good deal of work is done in the fields of vocabulary; we can also study how the Sanskrit style in some popular works shows traces more common in Prakrit. -3

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In understanding the beginning of Prakrits or M.I.A., some of the forms in the Asokan inscriptions present difficulties; and Language of the Pali and Ardhamagadi canons has undergone changes in due course. The beginning of the modern Indo-Aryan has not started in all the areas at the same time and the same lines. This means that to understand the linguistic developments of our Modern Indo-Aryan Languages, we must give greater attention to Apabhramsa Language and literature, Most of the linguists are still guided by Pischel's grammar. That is natural, But now we have many more Apabhramsa texts published after pischel wrote his monumental grammar. Some of the Apabhrams works are written in the South, some in Madhya Pradesh, some round about Delhi, some in Haryana , some in Gujarat and some in Kashmir, They all show how Apabhramsa was a standard literary medium like Sanskrit and Prakrit. Of course, minor variations due to locality and dialect can be detected here and there. It was used in mystic couplets, bardic songs and epic poems. It is high time that we analyse the language of works of Puspadanta, Svayambhu, etc. almost up to Raidhu more exhaustively and see how we get more light to understand the growth of Modern Indo-Aryan in its various phases. That is how our studies of Prakrit Languages and literature are valuable for understanding the growth of M.I.A. Now, We might take into account the philosophical value of Prakrit Literature. Perhaps due to natural environments, leisurely living and subjective attitude towards life, our early philosophers laid more stress on knowing one's self than knowing objects outside. They started with the idea that it 'one' is known every thing else is known; but it was soon realized that to know 'one' fully all 'others' have to be known; and what is this knowing one's self after all? If the one's self is not known in its highest purity and -4 .

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dignity, it is not knowing at all, such questions seen. In early Prakrit works like Acaranga, etc., are an attempt to understand the mystery of the Atman, Anatman and Paramatman; or to put in popular expression Jiva, Ajiva and Moksa. In earlier Prakrit works like the Acaranga, etc, it is not mere philosophical speculation, but a way of life characterised by self-restraint (samtama) that is set forth; and one has to glean the philosophical concepts here and there. In Suyagadam various views rather than systems are criticised, In the Pannavana and its parallel texts like the Satkhandagama-Sutram we have elaborate study of Jiva and Karma. This can be further studied in later works. It is the correct understanding of the Jivas, their classification and their relative Paryapti according to indriyas, etc., that enables one to practise abstention from harm unto them, This is what is implied by padhamam nanam tao daya. Life is the highest value, and it is the respect for its safety that is to guide us in our ethical values. We get fine reflection on these ideas in texts like the Dasaveyaaliya. The theory of Knowledge has a different pattern in the canon : The Nandi gives us a good exposition. What were seeds in earlier literature, have found fuller exposition later. philosophical texts has a common tradition of philosophical concepts; but their developments has not taken place. In one and the same place and along a single track. Eminent author like Jinabhadra, Haribhadra, etc., worked in western India ; the authors like Kundakunda, Vattakera, Siddhasena and others worked in the South. The environments, local thought patterns and reactions have given different tones to their thought. In this respect texts like the Visesavasyakabhasva, Patncastikaya, Pravacanasara and Sammai have special significance. The elaboration on the attainment of Liberation has brought ethical and ascetical overtones for their philosophy. Still an author -5

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like Siddhasena has developed Nayavada and Anekantavada to such heights that rarely we find parallels elsewhere for tolerant understanding of reality. One often regrets that many of these texts have not been properly studied and their contents duly digested in the great stream of Indian Philosophy. Another significant aspect of Prakrit literature is its high moral tone. Very little is written by way of panegyric, pastime, flourish of language and to please the audience. The major portion of it is inspired by a high moral tone ; and everywhere, with the transmigration and Karma doctrine in the background, the attempt is to teach the individual first to improve oneself by subjugating one's baser instincts like anger, vanity, deception, greed and infatuation, which generally arise out of one's attachment and aversion, Secondly, one is taught to behave worthily by respecting the sanctity of all life, of others 'possessions and of thers' personality. No doubt this branch of literature has produced worthy men and women in our society of which any age should be proud. These are eternal values and lessons, and let us also be benefited by them, -0-0-0

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2. PRAKRIT AS A VEHICLE OF PHILOSOPHICAL THOUGHT - Late Prof. Dr. Nathmal Tatia 1. Introduction: The non-Vedic people in ancient India learnt the new Language adapting it to their tongue and speech habits. The result was the growth of Prakrits varying from region to region. Their thought found expression as Jainism, Ajivikism and Buddhism. Parallel extracts show a close affinity between Ardha-Magadhi and Pali, the Language of the Jaina and Buddhist scriptures respectively. We find common texts used by the Jainas and Buddhists to expound their respective attitudes towards the same problem. While the Jainas considered any kind of act involving injury to life as serious moral lapse, the Buddha was never tried of asking his disciples to ward off any kind of evil thought crossing the threshold of consciousness. The word 'Prakrit' used in the world of scholars should be understood to cover the traditional Prakrits as well pali, the Buddhist Hybrid Sanskrit and Apabhramsa. 2. Philosophy through Prakrits : It one wants to know all about the life of Mahavira and the essence of his philosophy as actually lived and preached by him, one can find both at once at one place in the Ayaramga Sutta. The Suyagadam is devoted to an evaluation of a good many non-Jaina creeds and doctrines. The Samayajjhayana discusses as many as ten metaphysical and ethical doctrines. The Samosaranajjhayana mentions four classes of doctrines - Kiriya, akiriya, vinaya and annaana. An interesting account of heretical teachers is provided through allegory in the pondariyajjahayana, which reminds one of the pali Samannaohala Sutta. The Buddhist view of the morality of an act is 7

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correctly represented in verses no. 26-29 of the Addaijjajjhayana, It is the intention that is the determining principle of morality of an act, and not the bare act itself. The Jainas, however, did not agree to relegate the 'act' to a position of secondary importance. The practice must reflect the precept and cannot be allowed even to appear incongruous with the latter. The ravages of time do not appear to have wrought much harm to the original contents of the Ayaramga and the Suyagadamga. The Bhagavati Sutra is the most valuable source for the reconstruction of the life and doctrines of Gosala Mamkhaliputta. The Anuyogadvara Sutra gives a succinct account of pramana and naya, while on the subject of nikkheva, it is the locus classicus. The Dasavealiya Nijjutti of Bhadrabahu gives a novel classification of the logical concepts of avayava, udaharana and hetu. Acarya Kundakunda attempts a systematic exposition to the tents of Jainism. His conception of vavahara-naya and nicchayanaya reflects the influence of the Buddhist nihilist. He was more a saint than a philosopher. The Sammati-Prakarana of Acarya Siddhasena Divakara enjoyed a reputation which no other philosophical treatise written in Prakrit did. The doctrine of naya received a fresh treatment in the treatise. The VisesavasyakaBhaysa of Jinabhadra contains much valuable material for a reconstruction of the history of Jainism and the development of its philosophical ideas spread over several centuries after the demise of Lord Mahaavira. The works of Haribhadra are valuable in that they are composed with a comparative outlook and contain material which is not found elsewhere. Acarya Virasena, in his Dhavala on the Satkhandagama, follows the traditional method of exposition set forth in the Anuyogadvara Sutra and followed in the Niryuktis, introducing innovations in keeping with the openness of his mind and the vastness of his intellectual horizon which is limitless. Acarya Devasena-Gani, in his Laghu Nayacakra, distinguishes = -8.

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between nayas and upanayas, and bases their subdivisions on an analysis of the concepts of dravya and paryaya in Jaina philosophy. Muni Nemicandra Siddhantacakravarti wrote Gommatsara at instance of Camundaraya, which mainly follows the scheme of the Satkhandagama. His Duvasamgaha gives a brief account of Jaina philosophy in 58 verses. The Dharmaparikna of Yasovijaya belongs to the class of works written in Prakrit with elaborate Sanskrit Auto-Commentaries which give a critical estimate of many a philosophical problem. Prakrit is made to play a very minor role in such treatises, because it is found quite inadequate to serve as a vehicle of the critical thought that emerged in later times. 3. Philosophy through Pali : The Pali Tipitaka is rich its accounts of the perverse doctrines and heretical teachers. The Buddha's analysis of the atman into Khandhas and his patccasamuppada-doctrine fluttered the dovecotes of rthodoxy. And Pali was the Language through which this revolution of thought was achieved without a hitch. The Buddha's ideas were suggestive and dynamic and capable of giving rise to mutually hostile branches of philosophy. The Nettippakarana, which belongs to the post-Pitaka period, is a valuable treatise on the rules of interpretation of the Buddhavacana. The Milindapanha is undoubtedly the masterpiece of Indian prose. The Visudhimagga and the Atthasalini contain discussion of a number of philosophical problems. Pali could not, however, keep pace with the philosophical developments that took place in the country of its origin, It contained all the seeds but could not enjoy the fruits. 4. Philosophy through Buddhist Hybrid Sanskrit: Most of the North-Indian Buddhist texts are composed in this Language. These texts contained ideas and concepts which were improved upon and incorporated in the great philosophical schools that emerged in course of time. -9.

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5. Philosophy through Apabhramsa: Apabhramsa was a powerful Language in which the religious texts of the Saivas were composed. Abhinavagupta's Tantrasara appends a corroborative Apabhramsa verse at the end of each chapter. The Jaina and Buddhist philosophical Apabhramsa texts have their own characteristics and impor tance. 6. Conclusion: The competence of Prakrit to fulfil its mission is unquestionable. Freedom of thought, freshness of ideas and direct experience characterize the contents of Prakrit and Pali literature. The only serious demerit of the Prakrits is their ephemeral character. In spite of this handicap, the Prakrit texts still remain an indisputable source of valuable information about our ancient thought and culture. -0-0-0 -10

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3. PRAKRIT TEXTS AND THEIR ROLE IN HISTORICAL LINGUISTICS AND PALAEOGRAPHY - Prof. L.C. Jain & Ku. Prabha Jain 1. Introduction: Thousands of years have passed when the speakers of the IndoEuropean got spilt up into groups and families all over the world inhabitating widely separated lands. In the North India we find a great linguistic stream called the Indo-Aryan, flowing over the land at least for four thousand years. It is the study of comparative philology which not only explains the development of our own Languages but also discovers the international bonds of unity and kinship as well as creates better understanding for the world peace. Just as the Indo- Aryan has several branches and offshoots at present so also we find several branches and offshoots of the Brahmi script which also tells a story of various secrets of Indian pursuits of excellence and unparalleled learning. In India, the main fountain-head had been Vedic and the Sanskrit, standing at the earliest stage. The Pali, Prakrit and Apabhramsa constitute the second stage of development to which belong the Prakrit, Sauraseni in which the Karpura Manjari was a Prakrit drama composed by Rajasekhara at the instance of his wife, Avanti Sundari of Ujjayani, This was the work of the 10th century perhaps, when Prakrit appears to be still predominant as the people's Language. This was also the period in which mathematical theory of Karma was compiled in Sauraseni in summary texts, the Gommatasara and the Labdhisara, for the layman's reading at the instance Camundaray the prime minister and commander-in-chief of the Ganga dynasty. There are available Sanskrit, Kannada and Dhundhari commentaries on these works which are of supreme importance in historical linguistics and palaeography. 11.

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The earliest source material on the mathematical Karma theory is available in the following two texts of the Sauraseni Jaina scriptures of the Digambara Jaina school of philosophy. i) The first is the Kasayapahuda Sutta by Gunadhara (C. 1st cent. A.D.)2 consisting of 233 verses. This was produced from the third pahuda, 'Pejjadosa' of the tenth vastu of the fifth Purva, Jnana Pravada' of the fourth anga of the scripture. Yativrusabha compiled about 7009 verses of the 'Curni Sutras' on the text. Virasena could compose an incompleted 'Jayadhavala' commentary of 20,000 verses on this work. Which was completed by Jinasena(C. 837 A.D.) in 40,000 additional verses. Nemicandra Siddhantacakravarti abstracted from the above works, a text known as the Labdhisara-Ksapanasar3 consisting of 649 verses. A commentary in Sanskrit is available (anonymous) on it and Pandita Todaramala of Jaipur composed excellent commentary, the 'Samyakjnanacandrika', in Dlundhari, (c. 1761 A.D.) with the help some text on the subject by Madhavacandra Traividya (C. 1203 A.D.) in about 13,000 sentences.4 This traces a linguistic development in Prakrit and the palaeographic development in Brahmi. This was a phenomenal work in the history of linguistics and palaeography and if research pursuits are carried out in the south India we could get much in solving the problems in this field. ii) The second source is the set of the 'Satkhandagama' texts (including the Mahabandha or the 'Mahadhavala' texts) by Dharasena's brilliant disciples, Puspadanta and Bhutabali (c. 2nd century A.D.) available in 23 volumes with commentary and translation in Hindi. The set was produced from 24 Anuyogadvaras of the fourth prabhrta, 'Karma Prakrti' of the fifth vastu, 'Cayana Labdhi' of the second purva, ' Agrayani' of the fourth purvagata of the twelveth anga 'Drsivada' of the scripture, Just look at ancient Indian store of knowledge, belonging to anonymous Indian saints who were selfless. The commentaries. On this set by Kundakunda, Samakunda, - 12 "

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Tumbulura, Samantabhadra, and Bappadeva are extinct now. However the 'Dhavala' commentary by Virasena consists of 72,000 verse, available in Hindi by the great labour of Dr. H.L. Jain, the internationally reputed orientalist. Nemicandra Siddhantacakravarti abstracted from the above text, the 'Gommatasara" ("Jivakanda' in 734 verses and 'Karmakanda' in 972 verses). A commentary, 'Mandaprabodhini' by Abhayacandra Saiddhanti (c. 13th century A.D.) are available. There are also available, the Sanskrit commentary by Muni Nemicandra (c. 16th century A.D.) and a commentary in dhundhari by Todaramala, consisting of about 50,000 sentences. All these need furtive research in linguistics and palaeography. There is also application of mathematical logic and philosophical logic in these texts and require deeper research in the theory of sets and systems. Cosmology : The basis of the theory of Karna has been laid down in the 'Tiloyapannatti'? of Yativrsabha which is essentially a text on cosmogony, cosmography and autonomy, carrying details of geography also. The 'Trilokasar's of Nemicandra Siddhantacakravarti which details in addition to the material of the 'Tiloyapannatti', carious topological sequences locating fininte and transfinite sets of the theory of Karma. Thus apart from the details of the units and subsequent measures, principle theoretic approach marks the achievements of the Indians, after the period of the Vedangajyotisa. There is a change in the terminology, in the processional map, in the names of the cities and places, sites and spots. All this can easily lead a scholar to the chronological problems of research through linguistics and mappings of the orbits of astral bodies. It may be noted that we have detailed only the texts in Sauraseni, as the context of the great poet, Rajasekhara would have it . It appears that the above great works on the theory of Karma and cosmology, forming the source material, must have had an effective impact, not only on the people of India - 13 -

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but also on its brilliant and talented scholars like Rajashekar who composed his Karpuramanjari which won international fame and brought laurels to the Indian genius unparalleled in the history literature. Words with Mathematical Meanings : In the above quoted Prakrit texts we shall find certain words and analyse them in view of the revolution that took place in India round about the fifth century B.C. For example we find that the word 'artha' has been used to denote the measure of an object with respect to the fluent content (Dravya Pramana), time instants (Kala Samayas), point contents (Ksetra Pramana), and phases contents (bhava Pramana). Hence it needed a symbol for its representation called the samdrsti. The symbols were of three types : numerical, algebraic and geometrical. The artha could thus be either a constant or a variable. This gave opportunity to the Jainas to develop their logic based on the dynamic concepts, object and hypotheses. In Prakrit we call the symbol as sanditthi Samdrsti may mean something beautiful to look at. Later in the Mahapurana we find Jinasena (c. 9th century A.D.) personifying the Brahmi and Sundari as the language and mathematics scripts, as the two learning taught by Tirthankara Adinatha to his two daughters having the same name. It may be noted that in their equations of the Karma theory, some samdrstis carried medials as strokes in different directions with or without point (bindu). The gives us a new direction about the origination of the Brahmi script and the mathematical Sundari. There is one more direction of research shown by the legend about the composition of the Satkhandagama, in which again there is personification of two learning: the Hinaksari and Ghanaksari, described as two goddesses achieved by the authors, Puspadanta, Butabali, preceptors at the instance of Dharasena preceptor. When we find the words, 'Samkhejja', 'Asanjejja' and 'Ananta' of different categories constructed through various mathematical means, it appears to be a new concept transcended in philosophy of religions which was needed in their Karma theory. - 14 -

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Similarly there are several words in Prakrit which were coined as varga, vargana, spardhaka, gunahani, palya, sagara, antarmuhurta, etc. which carry measures in the theory of Karma. In cosmology also, the word yojana, in Jainology carries three types of measures used in cosmology, astronomy and geography respectively. It has the working as the 'LI' in China. Each of these newly coined words has its own significance. For example the varga or a variety is a set of avibhagi padicchedas (indivisiblecorresponding - sections) of some abstract measurable object, like the Yoga or Kasaya, which are responsible for the karmic bonds measured in terms of pradesas (particles of matter), Prakrti (configuration), sthiti (life/time) and the anubhaga (energy-level). Thus all such words which denoted some mathematical measures were rendered into the three types of symbols we have already talked about. Symbols are needed in mathematics to lead the thought to deeper and deeped abstractions not possible without mathematical manouevre, as we find in the Boolean laws of thoughts and logic. When we require the words to become mathematical measures, their meaning becomes the measure (Pramana) they carry, and one has to be very careful in coining such a word as well as its symbol. The coining of a symbol is most significant because the whole progress of the theory depends on its choice in a proper way. It may be the initial letter of the word, a part of the word, a numeral, an algebraic letter or geometrical figure to be used in an equation or an inequality referring to some event in the karmic theory. We are grateful to the ascetics who created the sciences in India and advanced them their most scientific script known as the Brahmi script, specially in the above Prakrit works in which some remains of the script may still be available. -15

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References and Notes 1. Jain L.C. and Trivedi, R.K. Todaramala of Jaipur (a Jiana Philosopher Mathematician), Indian Journal History of Science, Vol.22, No. 4, 1987, pp. 359-371.cf. also, 'The Labdisara of Nemicandra siddhantacakravarti, (Research Project, L.C. Jain, R.D. University operated), Indian National Science Academy, pp. 2400. 2. Gunadharacarya, Kasaya-Pahuda-Sutta with Curni Sutras of Yativrsabha, trans and ed. by Pt. H.L. Jain, Shastri Calcutta, 1995. Cf. also the Jayadhavala Commentary of the above, Digambara Jiana Sangha, Mathura, vols. 1-13, 1944. 3 a) Labdhisara(including Ksapanasar) of Nemicandra Siddhanta Cakravarti, with Sanskrit commentary (anonymous) and Samyakjnanacandrika Tika alongwith Arthamsadrsti chapter of Pandita Todaramalla of Jaipur, ed. Pt. G.L. Jain and S.L. Jain Calcutta, (c.1919). b) Labdhisara(including Ksapanasar) by same author, with anonymous Sanskrit commentary and Samyak jnanacandrika commentary of Pt. Todaramalla, ed, Pt. P.D. Siddhantashastri, Agas, 1980. Vide also Labdhisar-Ksapanasara, ed. R.C. Mukhtar, Shri Mahavirji 1987. 4. The Smyakjnanacandrika commentary of the Labdhisara by Pt. Todaramalla of Jaipura, loc. cit. 5 a) The Satkhandagama of Acaryas Puspadanta and Bhutabali, ed. Br. Pt.Sumati Bai Shaha, Solapur, Phalan, 1965. b) The Dhavala Commentary of the above by Virasenacarya, ed. H.L. Jain, trans, B.C. Shastri, vols., 1-16, Amaraoti and else where 1939-1959. 6. a) The Gommatasara (Jivakanda and Karmakanda of Nemicandra Siddhantacakravarti alongwith Jivatattvapradipika, Mandaprabodhika, and Samyakjnanacandrika Commentaries, ed, by Pt. G.L. Jain, and S.L. Jain, Culcutta, (c.1919). b) The Gommatasara of Acarya Nemicandra Siddhantacakravarti, ed, A.N. Upadhye and K.C. Shastri, New Delhi, Jivakanda vols., 1-2 1978-79 and Karmakanda, vols., 1-2, 1980-81. Delhi, Jivakanda Vol. 1-2, 1978-79 and Karmakanda, Vols. 1-2, 1980-81. This does not include the arthasamdrsti chapter as the Calcutta edition. This includes an appendix on the mathematical system of Gommatasara texts by Prof. L.D. Jian, in the Vol.2 of the Karmakanda, pp. 1397-1436. 7. The Tiloyapannatti of Yativrsabhacarya, eds, H.L. Jian A.N. Upadhe, vols. 1-2, 1943 and 1951, Jivaraj Granthamala, Sholapur, an editon (ed. Visuddhamati) in three vols. has been published from kota, 1984. 8. The Trilokasara of Nemicandra Siddhantacakravarti, with Sanskrit commentary of Madhavacandra Traividya, and Hindi commentary of Visuddhamati, Sri Mahavirji. (Raj), 1976. an edition with commentary of Pt. Todaramala and Pt. M.L. Shastri, respectively in Dhundhari and Hindi is also available, Bombay. 1920. 9. Boole G. : An Investigation of the Laws Thought, on which are founded The mathematical Theories of logic and Probabilities, Dove Publication, New York, (1854 edition reprint) -0-0-0 (-16 - 16

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II. (Inaugural Speech 4. THE OTHER VOICES - Prof. Radha Vallabh Tripathi, New Delhi I am grateful to the organisers of this wonderful event, although I am also a part of the organiser, being head of the Institution - the Rastriya Sanskrit Sansthan - that is a joint collaborator of this seminar. I also understand that my presence in this session is just ornamental. I am in no way a specialist of Prakrit language and literature. I am here because of Prof. Prem Suman Jain insisted on my joining this session. And I am also here because of one more reason. I have visited this holy place the last year on 14th of June to deliver the Convocation lecture for the Bahubali Prakrit Institute. His Holiness Swastishri Charukirti Bhattaraka Swamiji was very kind to me and I felt very enlightened by his learned discourse. It is because of a holy man like him that I felt inclined to visit this place for the second time. I take this opportunity to appreciate the immense efforts made by my esteemed colleague, Prof. Prem Suman Jain for advancement of Prakrit studies at this prestigious Institute. It is because of him that the efflorescence here breaths with immense possibilities. It so happened that about one month before this first visit of mine, on tenth of May, 2009, I was invited to deliver a lecture on the valedictory session of a seminar organised by BLII at New Delhi. The Seminar was on the way of life according to Jainism. In one of the presentations, that I had the opportunity to hear, a scholar informed about the way of life adopted by a reverend Jain Muni of our times. The Muni has taken a vow not to use more than 4 liters of water in a day, that is- 24 hours. This included the water - 17 -

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for his daily consumption as well as washing or taking a bath etc. I sat in the session for around three hours and was thinking how different I am from the respected Jain Muni. Here is a person who is saving water to save humanity from great crisis that is looming at large, and here are we - wasting water and wasting the resources of this planet leading it to a devastation. My only satisfaction that day was this that throughout that three hours' session, I had not gone to wash room - this happened very rarely that I sit continuously for three hours at a stretch and do not go to the wash room. Had I gone there, the optimum quality of water that I could have wasted on my single visit to the wash room would have almost equalled the minimam quantity of water that suffices for the daily requirements of that respected Muniji. The ideal of Aparigraha practiced to this extant of minimising the physical requirements certainly stands as a message for the world today, where the consumerism is dangerously destroying natural resources and much of the beauty of earth. Perhaps you will agree with me that in no other tradition, except the tradition that is envisaged through ancient Prakrit texts, the idea of aparigraha has been practiced to this extant, eventhough aparigraha is cited as one of the five niyamas in Patanjali's yoga system. In the philosophy of Upanisad's the idea of detachment or anasakti has been led to a similar proportions. The Isapanisat says- tena tyaktena bhunjithah ma gadhah kasyasvid dhanam and kurvanneveha karmani jijivisecchatam samah In the practice of anasakti yoga one may live amidst all the worldly possessions and be liberated by remaining mentally detached. Gandhiji adopted the philosophy of anasakti yoga and developed his principle of trusteeship. However, the idea of aparigraha practiced in its true spirit not only would incorporate the tenets of anasakti, it will also involve ahinsa the non-violence as well. -18

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The practice of samayika is somewhat similar to the of anasaktiyoga of upanisads or Gita. Uttaradhyananasutra rightly adjusts virati or detachment from Savadya Yogas (worldy evils) as an offshoot of the practice of Samayika (Uttaradhyananasutra 29.4). Kundakunda has gone to the extent of defining a Aramana or Samana as a person who practices Samayika - samana samasuhaduhkha - he says in the fourth Gatha of the first chapter of his Pravacanasara. We may again compare this Samayika defined as Samatyabuddhi to what Gita says - vidyAvinayasampanne brAhmaNe gavi hastini / zuni caiva zrapAke ca paNDitAH samadarzinaH // Aparajita Suri in Vijayodaya com of Bhagavati Aradhana rightly defines Samayika- HAHUT AHAHUT HHURRI HI HIHUU afeGuia ARMENT THAT sAmaNNazabdenocyate, athavA sAmaNNaM samatA - The idea of Samayika virtually encompasses a value that could lead to a universal emancipation. By practicing and by acquisition of the spirit of Samayika, even a householder becomes like a sage muni. The precepts of Jainism as revealed through the canons in Prakrit Language have in some way of other shaped and influenced the life styles of the followers of Jain religion and they have also cast a lasting impact out side its orbit too, The ancient texts in Prakrit Language thus have become very relevant today. Languages like Prakrit therefore must be studied for preservation and cultivation of values that are fast vanishing from the present global scenario. Language is not merely a medium for communication; it is a repository of traditions and culture. Language in this way embraces or encompassed things more vital than religion and philosophy. I hope you will agree with me that the traditions of Prakrit language and literature are not exhausted in Jainism only. There is a vast mass of secular literature that -19

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is cultivated and cherished under these traditions. However, a holistic view of life has been a mark of our tradition. Compartmentalisation between the secular and non-secular, the sacred and profane, the classic and folk, the mundane and the transcendental reality has never existed in ancient India the way it exists now a days. With this holistic approach, we must study Prakrit literature in all its diversity and versatile nature. Despite my very limited knowledge of Prakrit sources, I find that there are numerous genre and forms of literature in Prakrit. Some of them are - (i) Inscriptional literature - The inscriptions of Asoka or Kharavela not only are valuable records from the point of view of history, they also envisage the values that the society had cherished. (ii) Religious literature (iii) Philosophical literature (iv) Strotra literature (v) Katha literature : (vi) Muktaka or Subhasita literature (vii) Prakrit Mahakavyas Most of these areas have been covered in this seminar. People's voices, the voices of protest reverberate through Prakrit literature. The importance of secular literature in Prakrit should also be equally emphasised, and there is need to study the vast mass of Prakrit poetry and Fiction to understand the ethos, the aspirations and struggles and the nature of ancient Indian society as well as the values that governed and guided that society. There is a vast mass of muktaka literature in Prakrit. Apart from the well known anthologies Gahasattasai and Vajjalagga, there are thousands of Prakrit verses quoted in the Sanskrit texts of Alankarasastra. +- 20 -

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Srngaraprakasa of Bhoja alone cites as many as 1650 of such verses. Prof. V.M. Kukarni has done monumental work by giving us a critical edition of Prakrit verses quoted in the Sanskrit texts of Alamkaranastra. Most of the verses cited by the authors of Alamkaranastra are charged with eroticism. Many of these deal with illicit or clandestine love. They rejoice in adultery. They are are cited as examples of obscenity or Aslila Dosa bordering on vulgarity. This again is viewing from a angle that relies on fragmented approach. Fiction in Prakrit has has brought out a panorama of some of the wonderful female characters. The Uttaradhyayana Sutra brings out the value of renunciation through the character of Rajimati. Candanabala or Nammayasundari are some of the most noble characters of Indian literature. On the other hand there are dashing and courageous women, challenging the male dominance. A lady could raise her voice this way - tuha asamaM sohaggaM amahilasarisaM ca sAhasaM majjha / GIVE TIGHT ARRtdeed || (Srngaraprakasa, VIII.24, part I, p. 402) [My undaunting courage, quite unbecomeing of a lady, the courage that the flooded waters of Godavari and this midnight of rainy season alone know.] In sharp contrast to the timidity and subjugation that has been a mark of middle class females in India, the women in Prakrit muktakas come out with the undaunted courage and even raise to voice of challenge to the taboos and system of fixed values created by men. The are relavent to us for the the quest for freedom and a tendency towards breaking the barriers and created by men; and also, a firm denial to the idea that women could find fulfillment only through servitude. There are ladies belonging to lower middle class or lower class families who endure and suffer. Again a lady in one of the Gathas quoted by Bhoja says - 21

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Aujjia picciae jaha kukkuli NAma majjha bhattAle / pecchaMkkhaMtaha lAulakaMNiAha kA kassa kaMdemi // (Srngaraprakasa, IX.163, part I, p. 491) [My husband is grabbed and being thrashed or beaten like a bitch, and the royal servants are just seeing. For whom should I raise an alarm?] Bhoja has quoted this verse as an example of Apadadosa, a blemish in Simile. A man ought not to have been compared to a bitch. This is a bookish objection. There is a difference between a dog being beaten and a bitch being beaten. It is a lady who is using the smile is aware of the difference, and she is speaking from her experience. On the other hand, the women in many of the Prakrit Gathas also present a picture of noble suffering and endurance. You may ask what is the universal message in such passages? To me they are really universal and they also deliver a universal message - because they raise the suppressed voices they bring out the female discourse that has remained too much neglected in the male dominated society of great thinkers, philosophers whose texts, ideologies and postulations are mostly discussed in the seminars like this. The ladies who speak out of their woos and sufferings and the poets who give expressions to their voices, both are implicitly conveying a universal message to consider the other discourses and other voices that have remained on the periphery. Besides bringing out the sublimity and greatness of the religious and philosophical literature in Prakrit, I hope that this seminar will also view the the other voices that call our attention through Prakrit poetry and the universal values emerging through them. -0-0-0 - 22

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III Research Papers 5. MANUSCRIPT PUZZLES The example of Raidhu's Jasaharacariu 1. Manuscripts of Digambara works in European collections. th When the European indologists of the 19" century discovered the wealth of manuscripts that had been copied along the centuries by the Jains, and were keen on procuring some for the European libraries, they generally focused more on those from Western India, for practical as well as for intellectual reasons. Search for manuscripts was specially well organized in this area and the scholars' primary interest was more in the Svetambara than in the Digambara tradition, also because Svetambara (Murtipujak) communities were almost the only ones visible in India itself at that time. The result is that Svetambara works are much more widely represented in the German, French, British, Austrian and Italian collections (on which see Balbir et alii 2006) than Digambara ones. Among the latter, which, indeed, entered these libraries, though in small numbers, works in Sanskrit are prevalent: classics such as Padmanandin's Pancavimsati, puranas and caritas by Sakalakirti -Prof. Dr. Nalini Balbir, Paris * Personal note: I had known Prof. Raja Ram Jain for some 20 years through the editions and Hindi translations of Raidhu's works he has procured and through his magisterial study written in Hindi (1974) on the 15th century Apabhramsa poet of Gwalior. Prof. Raja Ram Jain proved very helpful to me when I became first interested in one of Raidhu's short poems (Balbir 1988). On his side, he has been kind enough to acknowledge my help in securing for him a photocopy of the Strasbourg manuscript of Raidhu's Sirivrlacariu, a work of which he had no manuscript at all (Jain 2007: 77 and 2010: (1)). The study of the London manuscript described here has again taken me to Prof. Jain's works. Under these circumstances, it was a great pleasure to come to know him personally on the occassion of the Conference "Jainism through the Ages" organized in Mysore (6-10 October 2010) and of the International Prakrit Seminar on Universal Values of Ancient Prakrit Texts which took place in Shravanabelagola (12th-13th October 2010). It was indeed a great honour to be associated with him in the International Prakrit Bharati Award Function at Shravana Belgola on 14th October 2010. I dedicate this humble study to him, as a token of great respect and admiration for deep and pioneering scholarship. May this preliminary article encourage a common project: the publication of the edition and translation of Raidhu's Jasaharacariu with paintings from the manuscripts! - 23

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and others, and common Sanskrit hymns are those which are most frequently found. Other literary genres (philosophical texts) and texts written in the various Prakrits used in Digambara circles (Jaina Sauraseni and Apabhramsa) are much more noteworthy because of their rarity. A copy of Yogindu's Paramatmaprakaua with Prabhacandra's tika or a Samayasara in Florence (Pavolini No. 609, 656) are rather unexpected. To find manuscripts of Kundakunda's works in Berlin is less of a surprise, as this Jain collection has more Digambara works than average outside India (Schubring 1944). The most notable case, however, is that of the University Library of Strasbourg (France) which contains a good number of such manuscripts, in Nagari but also in Kannara and in Tamil scripts, in Jaina Sauraseni, Sanskrit, Apabhramsa, Dhunari and even in Kannada (3 instances). They reflect the Digambara tradition in its full diversity (Tripathi 1975). The Strasbourg collection has: one copy of Mulacara three copies of sivakoti's Mularadhana, several of Kundakunda's works, two copies of Svamikumara's Karttikeyanuprekca, copies of the Tattvarthasutra in its Digambara recension, works of Nemicandra, Sanskrit philosophical works by Vidyananda and Akalanka, single surviving copy of significant tracts written by Bhavasena (Jaini 1985-86 and 1993), Vasunandin's Upasakadhyayana (see Kirde 2008), a variety of Digambara narrative works, including two copies of brahmaNemidatta's Aradhanakathakosa, Digambara ritual books for puja and for the performance of the necessary duties (avasyaka). This exceptional situation has an explanation: the presence of the Swiss German indologist Ernst Leumann (1859-1931) as a professor of Indian {-24 -

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studies at the University of Strasbourg (then in Germany). Wherever he was, wherever he went, Leumann was almost obsessed with manuscripts, the only source of information, especially at a time when so few printed books were available in the field of Jain studies. On the other hand, one of his main concerns was the investigation, at a deep level, of what he called the "Avasyaka literature". In his perspective, it meant covering all the textual units, small or large, that come under this heading. This global vision implied that the Svetambara tradition (Avasyakaniryukti, Jinabhadra's Visecavasyakabhacya, etc.) was not the only one that needed to be considered. The Mulacara and the Kriyakalapa texts of the Digambaras were to be analysed as well. Leumann first started buying manuscripts from India for his private collection. When he received funds officially, he started buying them for the Strasbourg University Library, with clear purposes in mind. For the Digambara manuscripts, especially those from South India, his source was Brahmasuri, a Jain scholar from Shravana Belgola, and the latter's son, Jinadasa alias Dorbaly Jinadasa Shastry appointed as a Palace Pandit at Mysore in 1913 (Gayathri 2010). Bhagavandas Kevaldas from Surat (died 13 March 1900), an agent who procured Jain manuscripts from Western and Central India to all European libraries at the end of the 19" century, did so for Strasbourg as well. 2. Manuscripts of Raidhu's works in these collections Given the coherent constitution of the Strasbourg Digambara manuscript collection it is not surprising to see that it has three manuscripts of Raidhu's works. They were not studied by Ernst Leumann. Yet, their acquisition is an additional sign of this scholar's exceptional insight and permanent pioneering attitude: the works of the 15"-century Apabhramsa poet were totally unknown in the West at that time, and hardly any Apabhramsa manuscript was available outside India. The German scholar - 25 -

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Hermann Jacobi (1850-1937), the first who edited an Apabhramsa literary work, had access to one or two manuscripts through Jain friends he was in contact with during his second stay in India, in 1913-14. They got photographs of the manuscripts for him to study. But Jacobi also copied parts of the text on the spot, working from morning to evening, as he himself narrates. In this way he worked on two texts - the Bhavisatta-Kaha (published in 1918) and the Sanatkumaracariu (1921). The presence of another of Raidhu's works in the Wellcome Trust collection in London, on the other hand, is somewhat unexpected as the Jain manuscripts there were not collected systematically. It is one of the good surprises awaiting those who have enough patience to dig into bundles of manuscripts. Title name of shelfmark number of reference of library folios and publication date Sripalacaritra Strasbourg Wickersheimer 109 folios, R.R. Jain 2010 University 4394/ Tripa'hi dated V.S. based on this ms. Library, 1975 No. 214 1688 (correction: the ms. France is not kept in Paris, but in Strasbourg) Anatthami- Strasbourg Wickersheimer folios 129 Balbir 1988: edition paddhaci University | 4445/ Tripathi verso - 139 based on this ms., Library, 1975 No. 294 verso, not with study and France dated translation in French Das alaksana- Strasbourg Wickersheimer | 10 folios, not work published jayamala University 4410/ Tripathi dated often, for instance Library, 1975 No. 295 France Jnanapitha pujanjali pp. 193-217 Jasaharacariu Wellcome Beta 1471 incomplete, ms, fully digitized Trust, no date and described on London available, the Jainpedia illustrated website (2010):jainpedia.org (see below Section 3 and following) - 26 -

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Raidhu (1393-1489) was a prominent Digambara personality of 15" century Madhya Pradesh under the region of the Tomara kings, umgarasimha and his son Kirtisimha. He was active in Gwalior and the region, and is known to have supervised about 1500 carvings of Jain idols on the outer walls of the Gwalior fort (see lately Granoff 2006). He was closely connected with the Jain authorities and political power. The prologues and concluding parts of several of his works are of historical interest because of the names and places they mention, and, in some cases, they can be crosschecked with external evidence (inscriptions, prasastis, etc.; examples in De Clercq 2010: 281-284). Raidhu is the most prolific writer in Apabhramsa. The four manuscripts mentioned above are representatives of the two types of works he composed, namely narrative poems and religious tracts (Jain 1974 and 2010: (10)). Narrative poems tell the adventures of famous Jain heroes (Sripala, Yasodhara; Dhannakumaracariu, Sukosalacariu, ed. R.R. Jain 1975; Mahesaracariu, Valahaddacariu [or Paumacariu), see Jain 1974; Jimamdharacariu), the lives of the Jinas (Santinahacariu; Feminahacariu; Pasanahacariu, ed. R.R. Jain 1975; Sammaijinacariu (= Mahavira), ed. R.R. Jain 1988; Mahapurana) or consist in stories connected with a specific doctrinal theme (Sammattagunanihanakavva; Punnasavakaha, ed. R.R. Jain 2000). Didactic or specific religious tracts include the Anatthami-paddhadi on the prohibition to eat after sunset, the Dasalakcanajayamala, describing the ten components of dharma, the Appasambohakavva, the Barabhavana, the Vittasara and the Siddhantatthasara, both in Prakrit. 3. Raidhu's Jasaharacariu in London It is not known where in India and when the Wellcome Trust manuscript "Beta 1471" was acquired. The full catalogue of the Jain part of the Wellcome manuscripts from India is under preparation but not yet published. -27

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Having surveyed the material we can say that the Jain collection contains a wide range of works relating to all possible areas of knowledge. Because the manuscripts were procured in large numbers and in bundles, perhaps without any careful pre-selection, they are often incomplete or consist in scattered folios. Yet, there are several treasures, some rare texts and/or some illustrated manuscripts (Allan 2003). The Jasaharacariu manuscript, which was unearthed by our team (Kalpana K. Sheth, Kanubhai V. Sheth, Dinanath Sharma and myself) combines both characteristics. As such it is one of those which has been selected for full digitization in the context of the "Jainpedia" project. The aim of this British project, the partner Institutions of which are the Institute of Jainology (London), the Heritage Lottery Fund, King's College (London), on the one hand, and the Wellcome Trust, the British Library, the Victoria and Albert Museum and the Bodleian Library, on the other hand, is to produce a website giving open access to about 5000 digitized images of manuscript pages with descriptions, and to provide an encyclopaedia of Jainism of academic level containing approximately 300 articles. All the manuscripts have now been digitized and uploaded on the Website, which will be accessible to public soon from now. The manuscript "Beta 1471" (paper, 27 x 12 cm., 6 or 9-10 lines per page) is incomplete. * Folios 1 to 3 are missing. The manuscript starts with folio 4. * Folio 6 is missing. *The folio coming after folio 9 and before folio 12 has two numberings: "10 1" and "11 2", There is, however, no gap in the text: (9 verso)... turiya sadda kahalava malum / nam bhuya(10/11 recto)li jaya upalaya kalum ...(10/11 verso) ...anehi manu(12 recto)ya-juyala turantu.... 28

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* In sandhi 1, the original scribe has wrongly given the number "6" to two successive ka avakas, which resulted in a wrong numbering of ka avakas 7 to 16. A later reader has indicated the correct numbers above the wrong ones in smaller size. * Occasional copying mistakes have been corrected by another hand in the margins or above the lines. * Some folios are written in a script of larger size than the rest. They may be replacement folios. * This manuscript ends with folio 41 verso. * In its present form it has 34 illustrated pages with colourful paintings in a lively style. Its complete form is likely to have had roughly double that number if we compare this manuscript with other ones of the same work (see Section 5). The text can be identified as Raidhu's work beyond doubt, through the internal colophons which close chapter 1 and chapter 2 respectively: iya siriJasahara-raya-carie daya-lakkhana-dhammabhavana-sarie siri-pam iya-Raidhu-viraie siri-mahabhavva-Hemaraja-namamkie Jasahara-uppattipayasano pa hamo samdhi pariccheu / (folio 19 verso-20 recto) iya siriJasahara-raya-carie daya-lakkhana-dhammabhavana-sarie siri-pam iya-Raidhu-virai(e) siri-mahabhavva-Hemaraja-sahu-namamkie pimmhamaya-kukku a-devi-vali-vihana-vannano nama bium sandhi paricheu / (folio 37 verso) The two colophon pages are highlighted visually by a painting of Mahavira's seated in padmasana located in the centre. The Jina is surmounted by the three parasols. Two lions are depicted at the basis of his throne (simhasana). He is being fanned by two chowrie-bearers. Fig. 1: Raidhu's Jasaharacariu, "Beta 1471", folio 37 verso, Wellcome Trust, London; Wellcome Trust. - 29

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As expected, these colophons give the title of the corresponding chapters, and the author's name. The main purpose of the story as a manifesto against all types of violence - factual, verbal or intentional -- and as a vigorous defence of non-violence is also emphasized through the compound dayalakkhana. The poet's encourage is present through the mention of Hemaraja. Much more about him can be known from the prologue and from the final part of the Jasaharacariu. They are missing in the London manuscript and this work has not yet been published. But its contents have been analysed in R.R. Jain's study on Raidhu's complete oeuvre (1974: 348-361; 608-611) on the basis of two manuscripts that he could use at that time (see here Sections 5 and 7). There the opening and concluding parts of the poem are quoted (1974: 607-611). In the first lines Raidhu narrates how his guru, (Bhammaraka) Kamalakirti, expressly requested him to compose this poem (1.1) a model of compassion (daya-guna-sara). Then comes Hemaraja, a member of the Agrawal caste, was Raidhu's childhood friend and was the patron who sponsored the poet for composing the Jasaharacariu. As the son of the sanghapati Kamalasimha, a respected member in the assembly of king Dungarasimha and a leading member of the Jain community (Granoff 2006: 33) who commissioned the 57 feet high figure of ?cabha, Hemaraja held a prominent position in society. In the usual way (see De mlercq 2010: 278), the patron is again glorified at the end of the composition, where his genealogy is described. All this took place in a place known as Lahanapura (4.16 and 4.18) which was ruled by Sulitana Sahi and his son Isappha (4.16; Jain 1974: 609; De Clercq 2010: 283). The Jasaharacariu is thus one additional case showing how Raidhu ges as the pivotal figure" linking the center of temporal power in the court, a center of spiritual power in the Jain monks or Bhammarakas, and a center of economic power in the wealthy Jain lay patrons" (Granoff 2006: 34). (-30 -

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Thanks to R.R. Jain's study we also know that in its complete form the work consists in four sandhis having a total of 104 ka avakas distributed as follows: Sandhi and kadavakas sandhi 1:21 k. sandhi 2:22 k. sandhi 3:33 k. sandhi 4: 28 k. Episodes Prologue; King Maridatta, the Saiva ascetic and the search for proper sacrificial victims; two Jain novices. Abhayaruci and Abhayam ati brought for sacrifice; birth of Yasodhara Yasodhara's youth and death; the discovery that his wife has a paramour; his mother's suggestion to sacrifice a cockerel made of flour; the tragic meal where Yasodhara and Candram ati die from poison; his son Yasomati ascends the throne Parallel rebirths of Yasodhara and Candramati The last rebirths as Abhayaruci and Abhayamati; final con versions; final prasasti Available in the London ms. k. 3 end k. 4 in toto beginning of k. 5 k. 21 k. 6 end - Folio 4 recto to 5 verso and 7 recto to 20 recto complete, 22 k. - Folio 20 recto to 37 verso The text of the London manuscript starts in the middle of a pada: III bbhau pahi thiu desiyaham cakka I (part of 1.3) | k. 1-5 beginning of k. 6 Folio 38 recto to 41 verso. Rest missing Missing in toto The subsequent verses describe the happiness and permanent pleasures enjoyed by people living in this region (Yaudheya, Ap. Joheyau) and go on with the description of Rayaura (Rajapura), the capital town of king Maridatta: tahu desahu majjhi pasiddhu iha pammanu namem Rayauru. -31

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In chapter 1, apart from the poet's self introduction, the reference to his guru and to his patron, and the beginning of the story itself, the description of the Saiva ascetic met by king Maridatta of Rajapura is also missing due to the lack of folio 6. From the series of parallel rebirths of Yasodhara and his mother Candramati, narrated in chapter 3, only the first one is found here: Yasodhara is first reborn as a peacock, and Candramati as a dog. The London manuscript ends with the episode where the peacock (alias Yasodhara) discovers his former wife, Amrtamati, having pleasure with her paramour (maim dimmhi ... sa mahila jarem sahum kilanti pavini dummha khala, 3.5). Infuriated with jealousy, he attacks them both striking with beak and nails. As a result, the man breaks one of his legs: muha-Gaha-camcu paharehim ja maim vihu haniu ta kamtai paya-bhamgu majjhu nivasam janiu | People shout and say that the bird should be caught: punu pukkari vihu mmhie lehu lehu bhaniu | ta haum dinu paGammhau maim maranau muniu | ghatta || (3.5) The page ends: ... | 5 sairini pukkara-ravena tammhu tamhau raya haum jhatti Gammhu rai-bhavanaruhi vi javena dhasiu nam niva mandira si || (= beginning of 3.6). 4. Raidhu's version of the story The story of Yasodhara is one of the most important Jain tales and has been passed down through the centuries in all the languages Jains have used. It is a good representative of religious teaching in narrative form - dharmakatha. Its importance comes from the fact that it shows very clearly -32

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the working of karma and rebirth and refers to key concepts, such as violence (himsa), and desire or greediness. Ultimately, all the protagonists will become pious Jains and will be emancipated. In addition, the tale is interesting from a wider religious angle because it shows the rivalry between Jainism and Saivism - and their ways of worship. Another striking point is how frequently animals appear in the story - as potential sacrificial victims or as possible forms of rebirths. The story is eventful, colourful and sad or even gloomy in places. Human feelings and reactions are finely depicted through the various episodes, happy or unhappy, that make up life. This story has been extremely popular for centuries and is found either as an independent tale, or in collections of Jain stories (see Hardy 1990). It would be irrelevant and almost impossible to give an exhaustive list of all versions. Hira Lal Jain (1972: 57) wrote: "I have been so far able to collect over twenty five authors on the theme, and I do not feel confident that my list is exhaustive". Yet, their use and spread show that all did not have the same impact and did not target at the same readership. Haribhadra's version found in the Samaraiccakaha could be the first in time, even if Haribhadra's dates are a matter of some controversy (8" century?). Among Sanskrit versions, Somadeva's Yasastilakacampu (952 CE) distinguishes itself through its sophisticated style and learned didactic contents (Handiqui 1968), and Sakalakirti's (15" century) as one of those that were often copied (Bhaskar 1988). Janna's tale in Kannara (1209 CE) needs a special mention as a literary classics of this language. Writers using Apabhramsa also took this eventful and conceptually rich story. The leading version is that of Puspadanta (edited with Hindi translation and full glossary in Jain 1972) going back to the 10" century. Five centuries later Raidhu so-to-say revived it through his own retelling. Raidhu illustrates the use of Apabhramsa as a main literary language and as a sig - 33 -

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nificant means of diffusion of Jain values and literary heritage, as late as the 15" century. In several cases there are literary compositions written in Sanskrit by Digambara authors flourishing in approximately the same period as Raidhu on the same topics or heroes. Yet, Raidhu's language is Apabhramba. As the prologues of his works demonstrate, he is often invited to write by religious authorities and patrons close to the court. Thus efforts to promote Apabhramsa are not only his choice. They are supported and encouraged officially. This means either that there was a readership for literary works in this language, or that the patrons were keen on making themselves noticed through remarkable forms of intellectual activity intended as heritage pres ervation. One can easily read Raidhu's original Apabhramsa in parallel with Puspadanta's text. Both authors follow the same line of events, although they do not distribute the episodes identically over the four sandhis that their works have. Raidhu's indebtedness to his predecessor appears through the use of a number of identical expressions, phrases and words which are too specific to be coincidental. But descriptive and doctrinal breaks in the pace of the story are not as many as in Puspadanta's work. His style seems generally less elaborate than his predecessor's. 5. Raidhu's Jasaharacariu illustrated The story of Yasodhara is one of the most important sources for Jain illustrated manuscripts created by Digambaras (see Doshi 1985; Garg 1991). Raidhu's version is no exception and the manuscripts known so far from various publications are all illustrated. But this version seems to have been less spread than the Sanskrit Yasodharacarita written by Bhammaraka Sakalakirti in 1719 CE. (Kasliwal 1967: 208-209) so that the number of manuscripts having Raidhu's text for sure is rather limited. - 34 -

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Maujamabad/Mozmabad (Jaipur) Shastra Bhandar ms.: 63 pictures Sources: Kasliwal 1967: 209; R.R. Jain 1974 Amukh: 5. Reproductions in R.R. Jain 1974: figs. 11-13 and 56. Ailak Pannalal Digambar Jain Sarasvati Bhavan, Beawar (Rajasthan) ms.: completed in Ahmedabad in VS 1769 = 1712; 79 folios, 70 pictures. Sources: Colophon in R.R. Jain 1974: 610, photograph in Garg 1991: 12 fig. 1 (ka); Doshi 1985: 146; Garg 1991: 35. Reproductions in R.R. Jain 1974, figs. 14-31; Doshi 1985 figs. 6, 10, 15 (all reproduced without text); Garg 1991: figs. 10, 13, 15, 17, 23 (= Jain 1974 fig. 25), 27 (= Jain 1974 fig. 14), 30 (wrongly given as belonging to a Nagaur ms., see below Section 8), 43. Ms. dated 1454 CE. (see below Sections 6 and 7) Sources: Doshi 1978-79: 36; Doshi 1985: 146; Garg 1991: 32 Reproductions: figs. 10 and 11 in Doshi 1978-79; fig. 23 in Doshi 1985 = fig. 47 in Garg 1991. London ms.; 34 pictures distributed over a little more than 2 sandhis (see below) Ms. from the Shri Digambara Jain Atishaya Kshetra (Shri Mahavirji), Jaipur. Source: Doshi 1985: 146 "c. 1440-1460 AD; Western Indian style (DelhiGwalior)". Reproductions of two folios in Doshi 1985. They can be identified as representing Raidhu's version through their text : - fig. 18 features Yasodhara trying to look after his daily duties, receiving dignitaries and being entertained by musicians, although he is in despair. The text is that of Raidhu's Jasaharacariu 2.13, located on folios 28 verso and 29 recto in the London manuscript. {-35 -

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fig. 12 depicts the two peacocks in the hands of the Bhillas. Only a few words are visible on the photograph. They correspond to the beginning of 3.2, located on folio 39 recto in the London manuscript. Like the London manuscript, the three main Indian manuscripts of Raidhu's Jasaharacariu are incomplete. But taken together the Jaipur and Beawar manuscripts used by R.R. Jain cover the full text. Black and white reproductions in Jain (1974: appendix 5) show that they both represent different pictorial traditions and that the style of the Beawar manuscript is often closer to that of the London one. Both have lively scenes, where the figures are proportionate and realistic. In the London manuscript the paintings are square or rectangular vignettes (ca. 6 x 10 cm) located in the right or left corner of the page on folios 4 verso, 8 recto, 8 verso, 9 recto, 9 verso, 10/11 verso, 12 recto, 13 recto, 13 verso, 16 recto, 20 verso (2 pictures), 21 recto, 24 verso, 25 recto, 26 recto, 26 verso, 30 recto, 32 verso, 33 recto, 33 verso, 34 verso, 35 recto, 36 recto, 36 verso, 38 verso, 39 recto, 39 verso, 40 recto, 41 verso. On folios 19 verso and 37 verso, they are in the centre as they mark the end of a chapter (see above Section 3). On folios 5 verso, 7 recto and 29 verso, the illustration is a horizontal narrow panel occupying the full length of a page where there are only 3 to 6 lines of text. A few of the paintings are accompanied by a brief caption (see below). The paintings of the London manuscript will soon be available for every one to see with proper descriptions when the "Jainpedia" website is opened. Therefore a list of the scenes illustrated will be sufficient here: 4 verso: Life in Rajapura, the capital town of king Maridatta 5 verso: King Maridatta's pastimes -36

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7 recto: King Maridatta enthusiastically pays homage to the Saiva ascetic 8 recto: 8 verso: 9 recto: 9 verso: 10 verso: 12 recto: 13 recto: 13 verso: 16 recto: 19 verso: Bhairava, the Saiva ascetic, giving orders to the king who is passing them on Maridatta giving orders King Maridatta, an apostle of violence Animals are brought for the sacrifice Maridatta's officer, Candakarma, gives orders to his men Digambara monks walking - Compare Beawar ms. in Garg 1991: fig. 15 The cemetery; search for alms King Maridatta's men seize two young Jain novices The novices Abhayaruci and Abhayamati are brought to the king for being sacrificed Mahavira seated in meditation, end of chapter 1-A similar type of scene is found on the first and last pages of the Beawar manuscript but the animals depicted on the Jina's throne are different (R.R. Jain 1974: figs. 30 and 31 and Garg 1991: fig. 13) 20 verso (2 illustrations): Yasodhara's father, Yasogha, renounces worldly life and entrusts the kingdom to his son whose coronation is shown. Captions: Jasogha vairagu and Jasodhara pammavandhu. 21 recto: Yasogha's initiation as a monk. Caption Jasogha diksa. Fig. 2: Raidhu's Jasaharacariu, "Beta 1471", folio 21 recto, Wellcome Trust, London; S Wellcome Trust. 24 verso: King Yasodhara's happiness 25 recto: 26 recto: 26 verso: Yasodhara and his wife Amrtamati at night Yasodhara, his wife Amrtamati and her paramour Amrtamati and Yasodhara at night -37

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29 verso: Yasodhara goes on with the usual life of a king despite his unhappiness 30 recto: Yasodhara in conversation with his mother, Candramati 32 verso: Yasodhara in despair 33 recto: A cockerel made of flour is sacrificed to the goddess 33 verso: The flour cockerel is offered in sacrifice to the goddess 34 verso The coronation of king Yasomati. Caption Jasomati pammavandhu. 35 recto: Amrtamati humbly invites Yasodhara to the ladies' apartments. Caption devi papadi. 36 recto: The tragic meal 36 verso: Yasodhara's and Candramati's deaths 37 verso: Mahavira in meditation, end of chapter 2 - Identical to folio 19 verso (see above Section 3). 38 verso: First rebirth of Yasodhara: the peacock 39 recto: The baby peacock sold to tribal men. Caption (in mixed language!) mora vikryate. 39 verso: First rebirth of Candramati: the dog 40 recto: The peacock and the dog offered to Yasomati 41 verso: The peacock (Yasodhara) attacks Amstamati, his former wife. 6. A folio of the "London manuscript" in Los Angeles? In summer 1990, through Dr. Gourishwar Bhattacharya (Berlin) who had been consulted by Dr. Pratapaditya Pal, I was sent for identification two black and white photographs of the recto and verso of a Jain manuscript page belonging to the Los Angeles County Museum of Art (LACMA). The back of the photographs has: "Number TR. 9428, Unknown manuscript page, 1453. Opaque watercolors and ink on paper, 27 x 12,1 cm". - 38 - - 38 -

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This manuscript page, numbered 45, has a painting in the right corner of the recto side. The scene features three ladies in a river where fish and a rather monstrous animal are shown swimming. The photograph is now available online on the website of the Museum (http://collectionsonline.org search for "Yashodhara"). The text around is cropped except for two lines, but the page is available in full in Pal 1993: pp. 104-105, catalogue No. 19, shelfmark "M. 90.86.1". The verso side, which is not illustrated, does not figure in the catalogue or on the website. The text along with the depicted scene makes a general identification easy: this page belongs to a manuscript of one of the Apabhramba versions of Yasodhara story. Comparing the text with that of Puspadanta, the only Apabhramsa version of the story that is available in print, one can see that the text on the Los Angeles folio is close to it but not identical with it. Raidhu's Jasaharacariu being the only other Apabhramsa version which seems to have been spread reasonably, his indebtedness to Puspadanta's text being clear, and the literary style shown here being in tune with the rest of the work as we know it, it now becomes possible to state beyond doubt that the Los Angeles folio is a page of this work - which I supposed twenty years ago but could not confirm for lack of sufficient elements of information. The episode is that of the third group of parallel rebirths of Yasodhara and his mother Candramati, when the former was a fish, and the latter, who was previously a snake, the animal known as Gangetic porpoise (Skt. sisumara). Both lived in the river Sipra. Their inimical relationship continues from birth to birth. The aquatic animal wants to catch the fish: Sippa-nai-vane minahim gabbhahim thappiyau 119... ta tahim janani sappau uppannau sumsumara-jammami pavaanau. tena dimmhu haum jali lolantau khahum pavamchai danta phurantau. - 39 -

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One day, several hunchback ladies from king Yasomati's harem came to the river, beautifully dressed: jama tama jala-kilam anuijaya Jasamai-rayahu vamana-khujjaya dhana-kajjem pattattu samasiya viviha-bheya aharana-vihusiya They started to play in the water (jala-kilana). While they enjoyed themselves, it so happened that one hunchback was caught by the monstrous creature: (45 verso)... // 10 ima jala-kila rasa thiramanaham nhamtaham khellamtaham vamanaham vihi-vasena ekka kujji ghadiya. All this created a turmoil (ummhiu kalayalu mahamtu). King Yasomati came in person in great haste. He summoned fishermen (dhivara kokkaviya) to come and catch the animal. Quickly they threw nests in the water (veem ghallivi jalai). As a result of which the fish was caught as well. The page ends with the words: ... parihasu kuvi ||| There are strong reasons to suggest that the Los Angeles folio and the folios kept in London belong to one and the same object: * The pages have exactly the same size. The margins are identical. There is an identical central square design in the centre of the non illustrated sides of the pages of both documents. The painting on the recto side of the Los Angeles page is located in an angle, which is the preferred location in the London pages as well. - 40 -

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* * * The paintings are framed exactly in the same way and have an identical size. They are in the same colourful, lively and somewhat naive style. The ladies' clothes are painted in the same style, with stripes. * Even more convincing: if the London manuscript and the Los Angeles page are put together, they match in perfect succession from the point of view of the contents and provide Raidhu's text for two of the first three successive and parallel rebirths of Yasodhara and Candramati: peacock/ dog (3.1-3.6) [mongoose and snake (3.6 end, 3.7?-3.8) fish and sumsumara (3.9-3.11) fol. 41 recto and verso (London) fol. 42 to 44; the text of this section is probably not very long, but it is most probably illustrated by one or more paintings location unknown] fol. 45 recto and verso (Los Angeles) 7. London, Los Angeles, India? The Los Angeles page is ascribed the date of 1454 CE. This same date is given to the manuscript from which the pages reproduced as figs. 10-11 in Doshi 1978-79 and as fig. 23 in Doshi 1985 are taken (see above Section 5). Nothing can be checked since the colophon is not available in publications, as far as I know. Did P. Pal see it? He writes: "The colophon of this manuscript unfortunately does not include the author's name" (1993: 104). Now, in Doshi 1978-79: 40 and 1985: 146 this manuscript is said to belong to the Shri Shantinath Shvetambara Mandir Old Delhi (Rupnagar). In Garg 1991: 32, it is given as belonging to the private collection of Mrs. Saryu Doshi. It is labelled "ni. pa. 2" and is said to be lacking the first 42 folios, so that only the second half is available. Earlier, R.R. Jain made a similar state - 41 -

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ment: ukta Jasaharacariu ki abhi tak kul milakar (Maujamabad, Vyavar evam Dilli sthit) 3 pratiyam hi jnat evam upalabdha haim aur yah ascarya ka vicay hai ki ve tinom hi sacitra haim. in mem se ek (Dilli) prati apurna hai; uska matra uttarardha hi prapta hai. ata% use upalabdha karne ka prayas maimne nahim kiya (1974: Amukh p. 9). Taken together, all this is rather intriguing: 42 folios are said to be missing by Garg 1991; 41 folios are available in London. The second half is recorded as available in India, the first half is in London. This cannot be a mere coincidence. The difference of one page may be explained by the numbering difficulty on fol. 10, numbered both as 10 and 11 in the London half. As a plausible hypothesis, I suggest that the three parts known so far belong to the same manuscript. The following reconstitution could be proposed: folios 1-3 location unknown; possibly mixed with other Jain mss. of the Wellcome Trust, London? folios 4-5 Wellcome Trust, London, "Beta 1471". Acquired in India in the beginning of the 20h century if it is a part of the manuscripts collected for Sir Henry Wellcome by his various agents in India (see Allan 2003: 16ff.). No information about this spe cific manuscript. folio 6 location unknown; possibly mixed with other Jain mss. of the Wellcome Trust, London? folios 7-41 Wellcome Trust, London, "Beta 1471" folios 42-44 location unknown folio 45 Los Angeles County Museum of Art "M.90.86.1" folio 46ff. Originally Shantinatha Shvetambara Mandir, Rupnagar, Delhi. Where at present: Still there? Mrs. Saryu Doshi private collection? Museums or private collectors outside India? - 42 -

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None of the three available photographs of this part shows the folio number. But their probable location and sequence can be deduced from the text. folio X, sandhi 4, end of k. 8 and beginning of k. 9, fig. 11 in Doshi 1978-79: Queen Kusumavali with her attendants making fun of her - Same scene and same text in R.R. Jain 1974, fig. 29. folio X, sandhi 4, k. ?, fig. 10 in Doshi 1978-79: ladies paying respect and listening to a Jain monk (Sudatta). folio X recto, sandhi 4, k. ? (towards the end of the story), fig. 23 in Doshi 1985 Garg 1991 fig. 47: Abhayaruci and Abhayamati have fainted after they have been told their own life story by the Jain monk. If this scenario is accepted, and if the date of 1454 CE can be trusted, then, obviously, it holds true for "Beta 1471" kept at the Wellcome Trust, London, as well. The India-London-Los Angeles manuscript is "a manifestation of the stylistic idiom prevalent in the region of Delhi-Gwalior" (Doshi 1978-79: 35). It shows the extent of the patronage granted to Raidhu's works, which were not only copied but also nicely painted in the local style, because this manuscript shares pictorial features with that of his PasaGahacariu executed in 1441 A.D. (VS 1498; colophon in Doshi 1978-79: 33-34). 8. Puspadanta's version illustrated: a brief note Trying to disentangle the rather intricate situation of Raidhu's Jasahariu manuscripts implied surveying all the pages reproduced in secondary sources used for this investigation. Two of them (Doshi 1985 and Garg 1991) are often confusing because the authors did not pay attention to the text accompanying the paintings. Either they simply label them as "Yasodharacarita" as if there was only one version (Doshi 1985) or they are not clear about the version of the text: Garg 1991: 33 describes a Nagaur ms. ("na. pa.") kept at the Digambar Jain Bisapanthi Pancayati Mandir as being - 43 -

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that of Sakalakirti's Yasodharacarita, while the pages she reproduces from this manuscript all have an Apabhramsa text. All the pages of Raidhu's version have been referred to above. Here we list and identify the pages from Puspadanta's version (ed. Jain 1972): Doshi 1985 fig. 9 (Private collection, Agra): end of sandhi 2, k. 20. Doshi 1985 fig. 13 (Shri Digambara Jain Atishaya Kshetra, Shri Mahavirji, Jaipur): sandhi 2, k. 33, lines 2-5 (in Jain 1972). Garg 1991 fig. 29: sandhi 1, k. 6. Garg 1991 fig. 18: sandhi 3, k. 1-2. Garg 1991 fig. 7: sandhi 4, k. 21. Garg 1991 fig. 22: sandhi 2, k. 6. Garg 1991 fig. 16 (ka): sandhi 4, k. 12. If nothing else, this investigation shows that not only illustrated manuscripts of Raidhu's Jasaharacariu are relatively rare. None of them available so far is in its complete form or has been fully and properly described so that getting even basic information such as the number of pages, the number of illustrations and their location in the manuscript, or the colophons with the dates, is problematic. It would seem that at least one of them has had a rather adventurous life, in India, England and the United States. Such dispersions are unfortunately the fate of many illustrated Indian manuscripts. References Allan, Nigel (2003), ed.: Pearls of the Orient. Asian Treasures from the Wellcome Library. The Wellcome Trust. Serindia Publications, London and Chicago. Balbir Nalini (1988): Souper de jour: quatrains. Edition critique, traduction et commentaire de l'Anatthamipaddhai de Raidhu, poeme apabhramsa. Indologica Taurinensia 14, 1987-88 (Prof. C. Caillat Felicitation Volume), pp. 47-77. Balbir Nalini, Sheth Kanhaiyalal, Sheth Kalpana K., Tripathi Candrabhal (2006): Catalogue of the Jain manuscripts of the British Library, including the Victoria and Albert Museum and the British Museum, London, The British Library, the Institute of Jainology. 3 vols. + CD. Bhagacandra Jain Bhaskar (1988): (ed.), Sakalakirti's Yasodharacaritam, Sanmati Research Institute of Indology, Nagpur. [Original Sanskrit text with brief English introduction, detailed Hindi introduction; black and white reproductions of paintings from an illustrated manuscript]. -44

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Chakravarti, A. (1974): Jaina Literature in Tamil. Delhi, Bharatiya Jnanapimha Publication (Jnanapimha Murtidevi Granthamala: English Section 3). De Clercq, Eva (2010): On Jaina Apabhramsa Prasastis. Acta Orientalia Academiae Scientiarum Hung. Volume 63 (3), pp. 275-287. Doshi, Saryu (1978-79): A fifteenth century Jain manuscript from Gwalior and some thoughts on the Caurapancauika style. Journal of the Indian Society of Oriental Art. New Series Volume X, 1978-79 (Shrimati Tagore Commemoration Volume): pp. 30-40 with Plates. (Ms. of Raidhu's Pasanahacariu dated 1441 A.D. - This ms. is also among those used by R.R. Jain 1975 for his critical edition of the work] Doshi, Saryu (1985): Masterpieces of Jain Painting, Marg Publications: "Yashodhara-Charita", pp. 133-146. Garga, Dr. Kamala (1991): Yasodharacarita sacitra pandulipiyam [Illustrated manuscripts of the story of Yasodhara), in Hindi. Delhi : Bharatiya Jnanapimha. (Useful despite many confusions). Gayathri, J.V. (2010): Chamundi Thotty Pandit - Darbaly Jinadasa Sastry. Paper given at the International Conference Jainism through the Ages. A Historical Perspective (8-10 October 2010). Directorate of Archaeology and Museums. Book of abstracts p. 74. Granoff, Phyllis (2006): Mountains of Eternity: Raidhu and the Colossal Jinas of Gwalior. Rivista di Studi Sudasiatici 1, pp. 31-50. Handiqui, K.K. (1968): Yasastilaka and Indian Culture. Jaina Samskriti Samraskshaka Sangha, Sholapur (Jivaraja Jaina Granthamala No. 2). Hardy, Friedhelm (1990): Karmic retribution : The story of Yasodhara from the Brhatkathakosa. English translation from the Sanskrit original, pp. 118-139 in Phyllis Granoff (ed.), The Clever Adulteress. A Treasury of Jain Literature. Mosaic Press : Oakville - New York - London. Jacobi, Hermann (1918): Edition of Bhavisatta-Kaha von Dhanavala. Eine Jaina-Legende in Apabhramsa, Munchen. Jacobi, Hermann (1921): Edition of Sanatkumaracaritam, ein Abschnitt aus Haribhadras Neminathacaritam. Eine Jaina-Legende in Apabhramsa, Munchen. Jain, Hira Lal (1972): Jasaharacariu of Puspadanta, Jasaharacariu. Revised Edition With complete Hindi translation and Introduction. Delhi: Bharatiya Jnanapimha Publication (Jnanapimha Murtidevi Granthamala: Apabhramsa Grantha No. 11). Jain, Raja Ram (1974): Raidhu sahitya ka alocanatmak-pariuilan, Research Institute of Prakrit, Jainology and Ahimsa, Vaishali (Prakrit Jaina Research Publication Series, Volume VIII). Jain, Raja Ram (1975): Raidhu Granthavali. Prathama bhaga. Solapur (Jivaraja Jaina Granthamala 25): critical edition, Hindi translation and glossary of Pasanahacariu, Dhannakumaracariu and Sukosalacariu. Jain, Raja Ram (1988): Raidhu Granthavali. Dvitiya bhaga. Solapur (Jivaraja Jaina Granthamala 45): critical edition, Hindi translation and glossary of the Sammaijinacariu. Jain, Raja Ram (2000): Punnasava-kaha-kos of Great Poet Raidhu. Delhi: Sri Digambara Jaina Sahitya Samsksti Samrakcaka Samiti. - 45 -

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Jain, Raja Ram (2007): Jain pandulipiyam evam silalekh. Ek pariuilan. Siddhantaacharya Pt. Phool Chandra Shastri Foundation Roorkee and Shri Ganesh Varni Digambar Jain Sansthan Naria, Varanasi. Jain, Raja Ram (2010): Sirivalacariu: eka durlabha pandulipi. Svasti. Essays in honour of Prof. Hampa Nagarajaiah for his 75 Birthday. Ed. by Nalini Balbir, Bangalore, K.S. Muddappa Smaraka Trust, Khrishnapuradoddi, 2010 (Muddushree Granthamala 75), pp. (1)-(24) = 187-213 in Hindi). Jaini, Padmanabh S. (1985-86), Muktivicara of Bhavasena: Text and Translation. Indologica Taurinensia vol. XIII, pp. 203-219, reprinted in P.S. Jaini, Collected Papers on Jaina Studies, Delhi, Motilal Banarsidass, 2000, pp. 147-161. Jaini, Padmanabh S. (1993), (Kevali]Bhuktivicara of Bhavasena: Text and Translation. Researches in Indian and Buddhist Philosophy, Essays in Honour of Prof. Alex Wayman, ed. R.K. Sharma, Delhi, Motilal Banarsidass, pp. 163-178, reprinted in P.S. Jaini, Collected Papers on Jaina Studies, Delhi, Motilal Banarsidass, 2000, pp. 199-215 Jnanapimhapujanjali. Delhi, Bharatiya Jnanapimha, 1957. Kasliwal, Kastoor Chand (1967): Jaina Grantha Bhandars in Rajasthan, Shri Digamber Jain Atishaya Kshetra Shri Mahavirji, Mahavir Bhawan, Jaipur. Kirde, Signe (2008): History and Culture of Jainism in North India: Glimpses from Vasunandin's Uvasayajjhayana. Jaina Studies. Newsletter of the Centre of Jaina Studies, Issue 3, March, SOAS, London, pp. 30-33. [S. Kirde is studying this work and got the Strasbourg manuscript digitized). Leumann, Ernst (1897): A List of the Strassburg Collection of Digambara Manuscripts. Wiener Zeitschrift fur die Kunde des Morgenlandes 11, pp. 297-312. Reprinted in E. Leumann, Kleine Schriften (herausgegeben von Nalini Balbir), Franz Steiner Verlag, Stuttgart, 1998, pp. 279-294. Pal, Pratapaditya (1993): Indian Painting, vol. I, 1000-1700. A Catalogue of the Los Angeles County Museum of Art Collection, LACMA, 1993. Pavolini, P.E. (1907): I Manoscritti Indiani della Biblioteca Nazionale Centrale di Firenze. Florence. Schubring, Walther (1944): Die Jaina-Handschriften der Preussischen Staatsbibliothek. Neuerwerbungen seit 1891. Leipzig, Otto Harrassowitz. Sharma, TRS (1994): Janna, Tale of the Glory-Bearer. The Episode of Candauasana. Translated from the Kannada with a foreword, Penguin Books, Penguin Classics. Tripamhi, Chandrabhal (1975): Catalogue of the Jaina Manuscripts at Strasbourg. Leiden, E.J. Brill (Indologia Berolinensis 4). Weber, Albrecht (1888 & 1892): Verzeichniss der Sanskrit- und Prakrit-Handschriften der Koniglichen Bibliothek zu Berlin, Zweiter Band. Zweite und Dritte Abtheilung. Berlin. -0-0-0 - 46 -

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6. SIGNIFICANCE OF PRAKRIT FOR JAINA PHILOSOPHY - Dr. Jayandra Soni, Germany The significance of Prakrit becomes evident to anyone at the very first encounter with Jaina studies because one learns immediately that the Jaina canon has been composed in Prakrit languages, for example in Sauraseni, Ardha-Magadhi and Maharastri. Moreover, there is a huge corpus of so-called classics of Prakrit literature, such as the Paumacariyam by Vimala Suri, perhaps of the third century, the seventh-century Vasudevahimdi by Dharmasenagani Mahattara and Jayavallabha's Vajjalagam, to name but a few. In the history of editing literary texts, and especially dramas, where many speak only Prakrit we see that the Prakrit sections have been overshadowed by Sanskrit chayas. The connoisseur of Prakrit, of course, would prefer the original, especially for the beauty of the Prakrit sounds. Moreover, Prakrit is often quoted for excellent examples of poetic ornamentation, alankara. The impression one gets is that Prakrit and Prakrit studies, in Jainism generally and in Jaina philosophy in particular, are by and large ignored. Throughout all the stages in the development of Indian thought Jainism has played no less a role than any of the other schools in contributing to this development. This is clear from the innumerable philosophical treatises produced by outstanding Jaina thinkers. Despite the fact that Jainism plays, and has played, a vital role in the Indian culture, it is generally not as well known as Buddhism and Hinduism. Be that as it may, the history of Jaina philosophy shows that several philosophical ideas in the tradition have their roots in ancient Indian thought. This means that Jaina sources, especially in Prakrit, retained many old ideas which depict 'original' Indian thinking and these are invaluable sources for the history and development of Indian philosophy. - 47 -

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The examples of matter (poggala=pudgala) and substance (davva=dravya) may be briefly considered here in order to show that these views are not only significant aspects of Indian philosophy (for example also for the Vaisesika and Nyaya schools,) but that in Jainism these philosophically technical terms also have early Prakrit sources, namely, the Jaina canon and philosophical works such as those by Kundakunda, second century CE, who wrote only in Prakrit. Kundakunda is renowned especially for his three philosophical masterpieces, the essences', namely Pavayanasara=Pravacanasara (PrS) the Essence of Scripture, Samayasara (SS) the Essence of the Doctrine, and Pancastikayasara (PaS) the Essence of the Five Entities. The Jaina view of matter is unique, especially in the context of the kamma=karma theory, and it may be said that this view can be seen as a metaphysical basis and justification for the the Jaina view of and emphasis on non-violence (ahimsa) which constitutes a basic norm for the ethics of the Indian ascetic tradition. It is well-known that Jainism regards karma as fine, subtle particles of matter which become attached to the soul (jiva) and hinders, restricts and prevents the full manifestations of its inherent capabilities, its innate powers, for example of right faith, knowledge and conduct (caritta, dansana and nana, SS 1, 2). The metaphysical justification for non-violence rests on the fact that for the Jainas violence is responsible for a quantitatively greater accumulation of karma particles than in the case of other human actions. Violence thereby entails 'more' karmic repercussions than other non-violent human actions. Hence, an avoidance of violence leads to a reduction of the amount of karma that accrues to or flows into (asava=asrava) the soul. Asava=asrava is a term that applies in the context of Jaina metaphysics and goes together with bamdha, samvara and nijjaralnirjara (SS 1, 13; see also Tattvarthasutra 1, 4). - 48 -

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The Jaina view of substance (davva=dravya) not only depicts its contribution to Indian philosophy, but it also shows the significance of using Prakrit sources for early ideas, because Kundakunda, who wrote his masterpieces only in Prakrit, is an early thinker (around the second century of our era) who cannot be ignored. In addition to the term quality (guna) which belongs to substance, because every substance is seen together with its quality, as even Nyaya and Vaisesika show, the Jainas introduced the term pajjaya=paryaya, namely, the mode or modification which a substance can take at a specific moment of existence, depending on the qualities it has which enable it to take it, like the substance gold which has the quality of being modified into a specific form of a ring, necklace, etc. Although a detailed study of the theme has already been done using Kundakunda's most important Prakrit sources, the Prakrit stanzas were left out-a typical example of using the Sanskrit chaya already referred to above (see Soni 1991). The opportunity can now be taken here to make good what was missed there, that is, by quoting a few of the Prakrit gathas omitted there, especially from Kundakunda's Pavayanasara (Pravacanasara, PS/PrS) with Upadhye's translation. attho khalu davva mao davvani gunappagani bhanidani | tehim puno pajjaya pajjayamudha hi parasamaya || - PS/PrS 2, 1 || The object of knowledge is made up of substances, which are said to be characterised by qualities, and which, moreover, are (associated) the modifications; those who are deluded by modifications, are false believers. apariccattasahavenuppada-vvayadhuvatta-samjuttam | gunavam ca sapajjayam jam tam davvam ti vuccamti ||-PS/PrS 2, 3 || That is called a substance which is endowed with qualities and accompanied by modifications and which is coupled with origination, destruction and permanence without leaving its nature (of existence). - 49 -

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jam davvam na guno jo vi guno so na taccam atthado | eso hi atabbhavo neva abhavo tti niddittho | |- PS/PrS 2, 16 || Really speaking what is substance is not quality, nor what is quality is substance; this is a case of non-identity and not of absolute negation: so it is pointed out. The crucial impact of the Jaina view of substance, quality and mode is perhaps its application to the intrinsic nature (sahava=svabhava) of jiva-davva because, despite the 'change' which takes place in any substance by virtue of substances being endowed with qualities and modes (including the jiva), it still retains its jivatva (PS/ PrS 2, 3). In other words, as against the views of Sankhya, Yoga and Advaita Vedanta, Jainism acknowledges a condition for the possibility of change without the inherent substance-hood being in any way compromised. For the Jainas such a change takes place because the jiva has uvaoga-upayoga as its guna. There are two types of uvaoga which account for a 'change' in the soul without losing its intrinsic nature in any way. These are nana-uvaoga (jnanopayoga) and damsana-uvaoga (darsanopayoga) which can be translated respectively as 'indeterminate or bare perception' and 'determinate or specific perception' on the part of the soul (see Soni 2007). Kundakunda's views briefly quoted above on nana-uvaoga (jnanopayoga) and damsana-uvaoga (darsanopayoga) can be seen as based on the Satkhandagama ('Canon in Six Parts', SkhA), namely SkhA 1, 1, 4 (p.133, vol. 1) which speaks of fourteen items that are associated with the jiva (the sutra is: gai imdie kae joge vede kasae nane samjame damsane lessa bhaviya sammatta sanina aharae cedi). Out of this list the terms nana and damsane refer respectively to the two types of perception mentioned above. The Satkhandagama ('Canon in Six Parts', SkhA), is a Digambara canonical work in Sauraseni Prakrit discovered in the late nineteenth century, containing invaluable contents of early Jaina philosophy. This work was composed around the mid-second century and published in six volumes - 50

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between 1939-1959 containing the Prakrit text by Puspadanta and Bhutabali, the tika in Sanskrit called Dhavala by Virasena (eighth century) and a Hindi translation. The debate about the antiquity of the text appears in the fourth Svetambara upanga, the Pannavanasuttam (Prajnapanasutra), published in two volumes in 1971. In the second volume of the work, pp. 223-231 there is a section titled "Prajnapanasutra and satkhandagama" and the Digambaras on their part, in the first volume of the SkhA, have a section entitled "Sarkhandagama and Prajnapanasutra". Without going into the details here, it is clear that the Svetambaras too regard the Satkhandagama as a "masterpiece" and that "it is doubtless the oldest available text containing a vast mass of details relating to the Karma doctrine". Moreover, in view of its old age, the SkhA serves as an important source for verifying what has become a traditional use of terms for both Digambaras and Svetambaras. There is still a great deal to be done on the Skha to sift out the early philosophical ideas in Indian thought. References 1. Kundakunda (second century CE): Pravacanasara (Pavayanasara): The Prakrit text critically edited with the Sanskrit commentaries of Amotacandra and Jayasena and a Hindi commentary of Pande Hemaraja, with an English translation of the text, a topical index and the text with various readings, and with an exhaustive essay on the life, date and works of Kundakunda and on the linguistic and philosophical aspects of Pravacanasara by A. N. Upadhye. Agas (Gujarat): Shrimad Rajachandra Ashram 1984 (first published 1968). 2. Samayasara: Samayasara of Sri Kundakunda. With English translation and commen tary based upon Amrtacandra's Atmakhyati, together with English introduction by Prof. A. Chakravarti. Delhi: Bharatiya Jnanapitha Publication, 1971 /second edition). 3. Pancastikayasara: Pancastikayasara. The Building of the Cosmos. Prakrit text, etc. by A. Chakravartinayanar and A. N. Upadhye. Delhi: Bharatiya Jnanpitha Publication, 1975. 4. Soni, Jayandra, 1991: "Dravya, Guna and Paryaya in Jaina Thought" in Journal of Indian Philosophy 19: 75-81. 5. 2007 "Upayoga, according to Kundakunda and Umasvati" in Journal of Indian Philosophy, 35, pp. 299-311. -0-0-0 -51-)

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7. INTERRELATION OF PRAKRIT AND KANNADA LITERATURE - Prof. Dr. Hampa Nagarajaiah, Bangalore It is not an exaggeration to say that the history of Karnataka Language and literature. Would be complete & meaningful only with ref. to Pk. It has played such an imp. role in the development of Ka. lit, which can be explained & analysed on four levels: 1. On Ka. la.: A linguistic analysis on historical lines will clearly exhibit the depth & dimension of this inf. Early Ka. grammarians were also aware of this aspect. As a result of the contact of Pk., certain phonetic & semantic changes have also taken place. 2. On Ka. lit: First stratum of Pk. on Ka. lit. is the subject of this paper. 3. One Ka. metre: A detailed & analytical study of Ka. prosodical principles reveals the tone & colour of Pk. metres. In particular three forms of Ka. metre (ragale, Kanda - & Sangatya) bear the stamp of Pk. Early Ka. poets are infd by Apabhraisa Kadavakas. The very conception of adipasa & antya Prasa in Ka. verses, owes its allegiance to Pk. Kavyas. Ka. poets have used the words paddati, paddati as synonyms to ragale, kind of Ka. metre, which reiterates Pk. inf. Pk. 'paddadia and other variants paddika, pajjahaaika can be compared with Ka. forms, which attribute to a common source. Kanda, another Ka. metre, has evolved on the model of Pk. Skandaka(a Sanskritised form of Pk. Khandaa) & Apabramsa Khandaya/Khandaa. Similarly Sangatya, a Ka, Sanghatta metre. 4. On religion in Kta.Jainism, according to the traditional belief, is said to have come from north, the region of Prakrit. Every house respectfully recites Prakrit. Cattari-mangalam ! Pancanamokara Mantram. A critico-historical study of Kannada literature beginning with the early proto Kannada C-52

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& the later Kavyas go to prove the solid influence of Prakrit. It is said, wisely & appropriately, that Kannada literature minus Jain literature is almost zero. This figurative expression can further be extended & said that the Jain literature in Kannada minus Prakrit influence is a ciphur (This simile should not be stretched to far). Both Prakrit & Kannada flourished in a friendly atmosphere under similar circumstances. Prakrit influence started moderately in the last centuries of B.C. and it assumed a massive magnitude by 4C. A.D. Asokan Inscriptions, six in number, are the earliest and later about another six edicts of 2nd & 3rd centuries A.D. are all in Prakrit, & the date of the first inscription of Kannada is 450 A.D. By the time a Ka. inscription appeared there were a dozen Prakrit edicts, several centuries before the date. Satavahanas, the earliest to rule Karnataka., had Prakrit as their administrative language & it is said that they had permitted the people of the palace only to use Prakrit. Halaraja, a king of this Satavahana dynasty wrote (rather complied) his famous work Gaha-satta-Sai (3. Centuary A.D.) in which he described Prakrit language as a nectar amiam pana Kavvam. Later Gangas, who suceeded Satavahanas, also encouraged Prakrit by which time it had its roots deep in the soil of Karnataka. Though the Tirthankars are from the North, most of the acaryas are from the south, in general & from Karnataka in particular. These preceptors bridged the gulf between north & south, using Prakrit as a link language. Kannada Kathakosa (=Va) Sivikoti, Vattakera, Bhutabali, Puspadanta, Virasena, Dharasena, Jinasena, Boppadeva, Pujyapada, Samanta Bhadra, Nemicandra and other preceptors are respectfully remembered in the pontiffical geneology of Jaina order. Dhavala, Jayadhavala & Mahadhavala ultimately took its present shape in Karnataka. - 53 -

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A mixture of Prakrit & Samskrit is found in Curni texts. Ex. Jinadasa mahattara (676) has employed such a style in his Nandi curni. In Karnataka also such a style evolved in the early centuries of mixing Kannada instead of Samskrit with Prakrit. Tumbaluracarya (a. 4C) wrote a Kannada commentary Culanani in Ubhayasiddanta & a pancika; in total about 91 thousand verses (87+7). One more cudamani was written by Srivardhadeva(a.4C) a work of 96 thousand verses. Another Acarya Samakunda(a. 4C) also wrote a commentary to Chakkhandagama | Kasayapahuda containing 12,000 verses, using Kannada, Prakrit & Samskrit language. All these three Commentaries have disappeared no traces. Prakrit continued to exercise its grip & command over the learned, including the kings, Durvinita (600) of western ganga dynasty, whose national religion was Jianism, is said to have written three works, one of them being Vaddakatha, which is supposed to be a faithful version of Gunadhaya's Brhuatkatha in Paisci. Durvinita's addakathe is only next earliest work on Gunadhya's BK after VH of Sanghadasa (6 Century). Vaddkathe a Tamil work Perungathai by a Jain author Konguvelir (8. century) represent southern recension of Gunadhya's Brhat Katha Durvinita is said to be disciple of Pujyapada. Like Durvinita, another Ganga King Sivamarma II (about 800) was versatile in Kannada, Sanskrit & Prakrit, He has written a Sivamaramata or a Gajastaka ! Setubanndha( Ravanavaho) attributed to Kaalidasa or Pravarasena (of Vakatakavamsa). But some scholars & historians have expressed emphatically that the author of Prakrit Setubandha is none but this Sivamara. A study of Prakrit was a prerequisite to Jain writers, as some of the basic religious texts were in that language. Hence most of them were equally proficient in Prakrit as in Kannada. Some of the Kannada poets in their - 54 -

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overenthusiasm to exhibit their knowledge of Prakrit have used gahas in Kannada Kavyas. An account of this intimacy with Prakrit literature Jain poets could open a new horizon to Kannada literature. So much was the influence of Prakrit that the author of Kavirajamarga (9 centuary) warns the kannada poets to ward off the Prakrit temptation. It is possible that some of the Kannada works written earlier to Kavirajamarga, both in prose & in poetry, of which we have no access, might have borrowed or translated mainly Prakrit works. Narrative stories such as Dhanya (Kumara), Kartika (-risi), Salibhadra, Cilataputta- have entered the lore of Kannada literature descending from Prakrit Anutaropapadikadasa it is only with the source of Ardhamagadi canon, a scholar will be able to explain the origin & development of these stories. The main character of Srenika, perhaps modelled on Janamejaya of mahabharata, solely responsible for the Puranas & other stories, their births & rebirths, in Kannada literature is drawn from its counter part in Prakrit. There are more Neminatha Puranas, more than half a dozen, in Kannada than on any other Tirthankar & the main reason & source is Prakrit Literature. Divakaranandi (1064) wrote a Kannada Commentary on Tattavartha Sutra, the first commentary in Kannada on the famous samkrit work. It contains about 22.5 gahas which clearly speaks of the authors proficiency in Prakrit Sabtinata (1068). Sukumara Carite & Cumpu Kavya in Ka. has been influenced by Prakrit works on the same story Durgasimha (1031) in his Karnataka Pancatantram has narrated the previous births of Gunadhya: One Puspadanta in the Sivagana, as a punishment for overhearing, was reborn in this mundane world as Gunadhya. Later he rose to eminence as a poet of excellence & wrote Brhuhat Katha in Paisaci, incorporating the stories told to Parvati by Hara. In due course Vasubhagabhatta picked up only five diamond like stories from that ocean of stories (Gunadhaya's Brhatkatha), wrote it in Samkrit and named it as pancatantram. This work - 55 66

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was acclaimed & appreciated by kings & poet laurates. I (Durgasimha) am renderig afresh that Vasubhagabhatta's Pancatantram has a special significance of preserving a Jaina version of Pancatantra, a parallel tradition to Vishnusarma's. This kannada poet Durgasimha has praised Prakrit writer it is impossible even to Brahma(the creator) to flatter the delicate. Melliflous & limpid Poetic brilliance of the famous Gunadhya, who on earth is there capable of doing it ?. Vittavilasa's (1360) Kannada, Dharmaparikse, though directly indebted to Amitagati's (1014) Samskrit Works, has some stories in it which originate from Prakrit Dhurtakhyana (Haribhadra- Suri: 750) Harisena's (988) Dharma-Pariksa in Apabhramasa & all of these works in turn ultimately points to Nisitacuni (677: Jinadasagasin). A tradition of writing commentaries on Brhutkatha existed in Karnataka from 8th century. Among the earliest are Vijayodaya in Samskrit & Aradhana Karnatatika in Kannada respectively written by Aparajita - Suri & Bhrajshnu. Though the date, place & identification of them is still debatable. It is possible they were both from Karnataka & that they lived in 9th Century. Ramacandra Mumuksu has based his Punyasrava Kathakos of Aradhana Karnatatika is a point for further consideration. Vaddaradhane (about 1075) a collection of 19 stories bears the stamp of Prakrit so much that if Prakrit elements are taken away what remains then is a bare skeleton. Name of the another and the work, date, place & source were all in a state of Nebulous. I had the pleasure & previlege of probing deep into these questions in my Ph.D. thesis on this subject which has thrown fresh light on all these aspects. This Kannada kathakosa has barrowed gahas from Bhagavati Aradhana, Mulacara, Tiloyasara, Paramatma Prakasa, Sricandra's Kathakosa, Jambudivapannatti, Nayacakra, Darsana, Pahuda & Pratikramana Sutra. - 56 -

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CR, an outstanding personality in KTa's history, has written some works and TLP is a significant Ka. prose work (978) as it is the first MP in Ka. There are about 11 gahas quoted in the CRP. GR is the main cause for the erection of Gommatesvara's monolith of 58ft at Sb, & for Nemicandra's Gommatasara. Nagacandra's (1080) Ramachandra-Carita-puranam narrates Jaina version of ramayana & owes its gratitude to Vimala-suri's (a. 3C) pauma-cariya, written in Jain-Maharastri. Nemicandra (a. 1180), a caturbhasa Cakravarti wrote two campukavyas; Lilavati prabandham. Scholars have noted the inf. of Pk. Lilavati Kavya of kouhala (a. 800) & Sk. Vasavadatta of Subandhu (a. 6C) on Nemicandr's Lilavati Kavya. I would like to focus the attention of scholars to another imp. reference not mentioned so far. One Jinesvara - Suri (1034) has written a OK. Kavya Lilavati Katha, which may be the direct source to Nemicandra. In his another Kavya, poet Nemicandra, in a state of ecstacy, out of sheer love & respect for Pk. lit., has given a rare description. Let me quote the very words of the poet: (the Situation under regerence is that Vasudeva majestically enters the marriage hall) "Prakrita Kavyadante Sahaja Sowbhagya Bhangi bhavalankaradin alankritanagi svayamvara mantapamam" i.e. "Vasudeva entered the marriage hall attired with natural grace and charm like a Prakrrakavya" Here Nemicandra has given a glowing tribute to the glory of Pk. lit. by making a casual but very effective statement at the appropriate time and place. This is just a spontaneous outburst of a poets unprejudiced attitude and appreciation towards another la. & lit. that has so much infd him and his writing I do not think that there can be a better compliment or testimonial to Pk. lit than this unique statement. It is interesting to note further more that Nemicandra has also composed four gahas and used them in his two Kavyas. - 57 -

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Bandhuvarma (a. 1150) makes use of barasanuvekkha and some KK's works in his jivasambodhane. Nagavarma (a. 990) has derived inspiration from svayambhu chandas (a. 9C) for his chandombudhi. a no. of Vratakathas in Ka. are highly indebted to Pk. sources. There are some independent Kavyas depicting the story of Nagakumara and the direct source is Mahakavi Puspadanta's nayakumara-cariu. Andayya (a. 12C) has used good no of tadbhava forms and some of them are from Pk. There are a no Ka. coms in pro-canonical lit. baraha anuvekkha, dasabhakti, paramatmaprakasa, Karma-prakritprabhita, Ksapanasara, Gommatasara, rayanasara etc. Kesavavarni (1359) Bahubalisiddhanta Vrati (14C) adhyatmi Balacndra (1170), Balacandra pandita (1273) Padmaprabha (a. 1300) and other commentators have done their best to pass on Pk. works to Ka. lit poet Vijayannas (1448) Dvadasanuprekse is again based on Pk. sources. Till to-day the origin of campu remains an enigma, a yaksaprasna, some scholars have attributed it to Pk. sources. There is another from of prose writing in Ka. called bolli' panca-paramesthigala-bolli (Balacanndra pandita: 1273). This is borrowed from Pk. bolia. Maghanandi (1250) author of about four works, has used 647 gahas in his magnamopus padarthasara. Siribhuvalaya of kumudendu (a. 15c) a unique work in any la., has mentioned the names of Pk. works and authors, in addition to gahas. Pk. enjoyed the royal patronage in kta. first under satavahanas. Later Pk. found its patron in Gangas and Rastrakutas. When Gangas vanquished and Rastrakuta capital city Manyakheta (Malkned) was burnt, not only Pk.lit, but also Ka.lit. lost a great patron in them. Pk. in particular has to flee from the palace to seek its shelter elsewhere in gurukulas and maths, but the glory and pomp of creative lit, was gone and what followed later was mainly some coms on pro-canonical lit. - 58 -

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The role of Pk.lit in the development of Ka.lit. stupendous, both in quality and in quantity, ka, assimilated some of the best qualities of Pk. a process which started very early around 3rd c. and continued up to 14th c. Almost as a token of gratitude kta. also encouraged Pk. writers. Dhavala was safely preserved for posterity. Mahakavi Puspadanta wrote his classics here. Virahanka, Svayambu, Trivikrama, Nemicandra and a host of others, in addition to the galaxy of great acaryas like KKA. Vatakera, Sivakoti, Virasena, Jinasena all lived and wrote in KTa. Among other variants of Pk. it is apabhramsa that has infd Ka. more. Joindu's (a. 600) paramappayasu, Kanakamara's Karakandacriu, Siricandas kahakosu, Hala's gaha-satta-sai, and some other Kavyas such as SanatKumara cariam, Bhavisatta- Kaha, all belong to apabhramsa group. There are apabhramsa gahas quoted in Ka.va. and other works. Main works and kavyas of Pk. written in KTa. also belong to apabhramsa; for ex. the works of Puspadanta. The inf. of Jaina sauraseni is also almost on par with apabhramsa. Pavayanasara, Pamcattikaya, chappahuda, Mulacara, Katigeyanupekkha are some of the imp. works of jaina sauraseni that has infd. Ka.lit. Next comes jaina maharastri of which the main works to inf. Ka. are Paumacariya of Vimalasuri, uttarajjhayana of devendra's com. samaraicchakaha of Haribhadra (8c). The only work of paisaci Pk. to inf. Ka. lit. is of course that great classic of universal importance GBK. Contribution of yapaniya writers is also worth pondering, though Digambar Jain lit. dominated in Kta. Entire BA and its com's are the effort and contribution of yapaniya branch. What remains now, towards the end of this paper is to find out whether Ka. has also infd. Pk. It would be appropriate to consider this aspect of inf. as mutual between Pk. & Ka. There are some suggestions confirming the inf. of Ka. on Pk. - 59 -

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One of the words occurring in an Asokan inscription at Brahmmagiri in Kta, is 'Isila' (3rd c.b.c.) This word has been interpreted earlier as Pk. 'risi', and the derivation of which was doubtful. Later in 1958, Prof. D.L.N. in his lecture of 'the oldest datable word in Kannada' has pointed out 'Isila' as a prakritised Ka. word. It is derived from Ka. esil (a fort): eyil is a cognate word in Tamil Ka. esil, Tamil eyil both come from a common dravidian verbal base ec-eccu-to shoot an arrow): eccu, ese, esuare the variant forms of the same meaning. Therefore the Pk. work 'isila' from Ka.Ka. signifies only as a place for shooting (arrows) i.e. a fort from where arrows were shot. Prof. T.N.S. has also endorsed suggestion. Scholars have discussed about some Ka. words used in gahasatta-sai of Hala, who has styled himself as a cheif of the people of Kta. (Kuntalajanapadesvara) Ka. nouns such as potta (stomach) tuppa ("ghee') and verbs like pettu ("to strike') tir (to become possible) are freely used in this Pk. work. Dr. A.N. Upadhe's paper 'Kanarese words in Desi lexicons' exclusively deals with this aspect where he has very positively affirmed Ka. influence. It is but expected that Ka. must have infd. Pk. because of the closed contacts of these two las for nearly ten cs. Apart from linguistic findings, a study on literary impact of ka, lit. of Pk. is still a desideratum. All said and done, it should not be forgotten that there are matters which still await critical investigation. Abbreviations a : about BA : Bhagavati Aradhana (Mularadhana) BKK Bhshatkhatakosa Century, CS: Centuries CR Camundaraya CRP : Camundaraya Puranam - 60 -

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Com Coms : : Commentary, Commentaries Comr GBK imp inf Ka KK KKA KKK la lit MS Commentator Gunadhaya's Bthatkatha important Influence, infd : infyenced Kannada Kathakosa Kundakunda Acarya Kannada Kathakosa Language literature Manuscript ; Manuscripts Mahapurana Number Prakrit Punyasrvakathakosa Ramcandra Mumuksu Samantabhadra Sravanabelagola Samskrit Trisastilaksanapurusapurana Vaddaradhane MSS MP No PK PKK RM SB Sb SK TLT Va VBP Vasubhaga Bhatta's Pancatantram and -0-0-0 =-61-)

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8. SAMAYASARA : AN ATTEMPT TO FORMULATE A UNIVERSAL CODE OF SPIRITUALISM -Prof. Dayanand Bhargava, Jaipur For the last so many centuries mankind has been in search of some code which could be universally acceptable. The Vedas speak of the desire of the turning the whole universe as Arya - Klnvanto Visvamaryam. The Christians think of converting everybody to Christianity. So do the Muslims think of converting everybody to Islam. Buddhism is also a missionary religion. There have been cases of conversion to Jainism also. Amongst so many religion comperting with each other for converting the whole humanity to their own religion, can we reasonably hope to evolve any code or way of life which could be universally acceptable? Failure of the attempt of converting all to one religion - Religion have generally four broad aspects: 1 Ritualistic 2. Metaphysical 3. Ethical and 4. Spiritual. There could be other aspects also like mythology or epistomology. So far most of the followers have been thinking that all these aspects of their respective religions could be made universal. Obviously they have failed. Universality of essentials of all religions : Spirituality - A few, however, tried another path of finding the essentials of all religion learning aside what was not-essential. In the Vedic tradition, for example, the ritualistic part of Vedic religions represented by Yajna, was given an interior place by the Upanishads when they declared that the Yajnas are the weak boats - Letall g4d 375gt statt: Having thus given a secondary place to what they thought to be non-essential, the Upanishads concentrated on the essential, the self - AtmA vAre zrotavyo mantavyo nididhyAsitavyaH / - 62 -

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In Islam, the Sufis, again, thought all rituals to be non-essential and declared 'I am God: 317Estet, which was similar to Vedanta's proclamation :- 3TE TE The Sufis, therefore, insisted that either they be allowed to drink wine in a mosque or they be told of a place where is no God: jAhida zarAba pIne de masjida meM baiTha kara yA vo jagaha batA ki jahA~ para khudA na ho // Sufism is, thus, pure spiritualism devoid of religious taboos. Place of Samayasara : its spiritualism & its universality: We have to evaluate Samayasara, a work of spiritualism, against the background of upanishadic spiritualism of the Vedic tradition and Sufi spiritualism of the Islamic tradition. Both of these spiritual movements underrate the ritualistic part of the religion. Ritualism Vs spiritualism: Samayasara belongs to Jaina tradition. Jaina tradition, like other traditions, has rituals of own. The rituals of Jainism are heavily morality oriented. Spiritualism transcends not only rituals but is supra-moral also. The problem before Acarya Kundakunda was not only to explain away the rituals but to re-interpret morality also in a way that it fits in the scheme of pure spiritualism. This was to be done in a way that laxity does not find a way into in morality, just as it happened unfortunately in the case of such tradition as Vajrayana of Buddhism. Acarya Kundakunda could do it successfully by the helps nonabsolutism, the bed-rock of Jainism. He could, therefore, lay down the foundation of a universal code of spiritualism, which could be acceptable to all; of course, with a little of variation of their own. (-63 -

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Samayasara Vs. Sankhya : Let us see how for the spiritualism of Jaina variety as propounded by Samayasara will fit in the system of Sankhya which has been referred to twice in the Samayasara itself and in the system of Vedanta with special reference to the Gita. First of all us take the Sankhya system. It is dualistic like Jainism. The characteristics of Purusa (ie self of Jainism) and Prakrti (ie- nonself of Jainism) are similar to great extant. For example, the characteristics of Purusa and self are as follows: Purusa Devoid of gunas Subject Conscious Neither cause -nor-effect Point of disagreement: So for Sankhya and Jainism agree. The disagreement lies in the fact that which Purusa of Sankhya is always pure in all situations, the self if Jainism does get polluted in case of an ignorant person. The Samayasara inclines to fill up this gap by repeatedly insisting on the pure nature of the self. And yet retains the individuality of Jainism leg accepting that there is an impure state also of the self or else there is no point speaking of bondage and consequently of liberation. Pure self Devoid of Kasayas Knower Conscions neither cause-nor effect "If the self does not of his own accord undergo emotional modifications such as anger, then empirical life or Samsara will cease to be. This would result in Samkhya view" 1 - 64 -

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The question of bondage : The difference between Jainism and Sankhya lies in the fact that in Jainism the self actually undergoes modifications where as in Sankhya, the modifications actually belong to Buddhi, but are reflected in Purusa in such a way that they appear to be belonging to it; they actually do not belong to Purusa, who is never in bondage. Be it as it is, in Sankhya also the aspirant feels inflicated by suffering and hence, has the aspiration to get himself liberated. Though later on, on getting knowledge he realizes that Purusa is neither bound nor liberated it is only Prakrti which is liberated (Sankhyakarika, 62).2, In Jainism, as per scheme of gunasthanas, the aspirant actually gets liberated from the bondage. The question of Kartstva: As a natural corrolary to the self under going modifications, the self is also the agent of modification because modification in it cannot be carried out by any thing else the Karmas in this case. To summaries, in Sankhya system purusa is without modifications (31fahrt) and therefore devoid of agency Kartstva but in Jainism it is the agent (her)of its own modification in imperfect state (though not-agent of the modification of dravya Karmas ) and in a state of perfection it becomes non-agent other wise there would be no body devoid of Brahmacarya 5 or responsible for violence, because every thing would be only just a play of karma upon karma (Samayasara 332-340)? Here Acarya Kundakunda sees the difficulty of sawing morality in the Sankhya scheme of things where purusa is absolutely non-agent. In Jainism, one may not be the agent of bringing about any modification in others, but he is responsible for bringing about emotional modification in the self. - 65 -

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Morality in Sankhya: Here it may be pointed that Sankhya system, though accepting non-modificational (3) nature of purusa, fully prescribes morality, knowledge and detachment along with supernatural powers (comparable to infinite bliss etc. of Jainism in a restricted sense) as characteristics of Sattvikabuddhi (Sankhya Karika, 43). In Jainism also morality belongs to the empirical level and not to transcendental level. This is the meeting point of Sankhya and Samayasara. We can thus say that with some variation Samayasara and Sankhya can join hands if a universal code of spirituality is to be sought with their help. The goal of both of them is to remain engrossed in the true nature of self, which is pure. The means of achieving that goal is also the same viz. concentrating on the self, controlling the wanderings of the mind in the external world. Place of rituals: With this similarity, both Samayasara and Sankhya, give secondary place rituals of their respective systems. Whereas Sankhya speaks of Vedic rituals as entailing impurity (3faf) in the form of violence (Sankhyakarika, 2)9, Samayasara uses very strong words against such practices as fashchUT etc. if they are practiced as rituals with out spiritual element. (Samayasara, 306,307).10 Both of the systems advocate rising above all rituals. The Gita: Coming to Vedanta with special reference to the Gita, again we have much similarity between the two, yet the difference is also glaringly clear; Samayasara is a work advocating asceticism where as the Gita is mainly addressed to warrior. A great philosopher, Acarya Sankara could not reconcile spiritualisms with war or worldly activities and therefore, his interpretation of the Gita comes nearer to Samayasara. But without that interpretation, the Gita's spiritualism is different from that of Samayasara. - 66

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Point of similarity: Before speaking of the difference, let us dwell upon the similarity. In general the whole of the description of of the Gita " of very much nearer the description of a Jaina Samana. In particular, some of the Gathas of Samayasara are strikingly akin to the Gita: "While one is engaged and yet he is not engaged and while one is not engaged and yet he is really engaged" - Samayasara, 197 12 Compare the Gita: "He, amongst men, is wise who sees non-action in action and action in nonaction"- Gita, 4.18 13 The RhRT (153) supports it in another fashion: "One who has renounced the fruit; we do not feel that he acts even if some action he has to perform, he remains steadfast in his intrinsic nature. Thus who knows that what a wise man does or does not do? "14 Take another Gatha of the Samayasara (247): "One who thinks that I kill and I am killed by other creature, is an ignorant fool; the wise knows other wise" 15 Compare the Gita: "One who thinks the soul to be killer and one who thinks it killed; both of them do not know, it neither kills nor is killed"- Gita, 2.19 16 The advise to mention equanimity under all circumstances is to well known to be elaborated here. This applies equally to both, the Gita and the Samayasara. Disagreements: Yet, the Similarity ends here. As is clear, the Gita asks one to struggle without any personal motivation where as the Samayasara expects one to withdraw from all worldly activites. 67 -

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Here we can compare the advice of the Gita for an 3tfara yppere of Jainism. Where as the Gita assures Arjuna that sin will not accrue to him he fights with inward equamimity7, the Samayasara also assures that sin does not bind a of AppETUS. course, Samayasara cannot assure liberation without the obsevance of headt. But leaving aside this difference, the inward detachment is emphasized by both the Gita and the Samayasara. Conclusion: In short, the difference amongst the various spiritual traditions is confined either to metaphysical position or to outward behavior but inner detachment and purity is their common point. Samayasara, by emphasizing this common point, is a lofty attempt to formulate a universal code of spiritualism which is the demand of the modern era of globalization, In this respect, it can be compared to the Upanishads of the Vedic tradition or Sufism of the Islam. The speciality of the spiritualisms propounded by Samayasara is this that it is based on the duality of consciousness and unconscious element (37519), the former being the knower and the latter being the doer. 19 Secondly, it is atheist in the sense that it does not accept any deity or God who is responsible for creation etc. of the universe. 20 In this respect it resembles Sankhya. But there is a tinge of Vedanta also at the level of self-realization, which surpasses all logic and duality: udayatI na nayazrIrastameti pramANaM vkacidapikvaca vidano yAti ni-kSepacakrama / kimaparamabhidadhmo dhAmri savaMkaSesmi nanubhavamupayAte bhAti na dvaitameva // The controversy: In such a situation, there appears to be some difference of opinion amongst scholars as to the proportionate importance of nizcaya rapava vya vahAra; 1-68

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some interpreter emphasizing to a point where ER appears to disappear. 22 Other insist that has its own importance in the non-absolutistic scheme of Jain philosophy. Samayasara is at the centre of this controversy. In my opinion, the controversy arises from the fact that even though two persons may belong to the same school of thought, and yet they have their own personal background, likes and dislikes. Hence they are likely to incline to one or the other side. In this respect, each individual has his own concept of a particular philosophy and perhaps there are no objective criteria of finally deciding the matter. Let us, therefore, agree to disagree. 1. apariNamaMtamhi sayaM jIve kohAdi ehi bhAvehiM / saMsArassa abhAvo pasajjade saMkhasamao vA // samayasAra gA. 122 - 2. tasmAnna badhyate'ddhA na mucyate nApi saMsarati kazcit / saMsarati badhyate mucyate ca nAnAzrayA prakRtiH // sAkhyakArikA 62 3. Hence it must be accepted that the self is capable of under going emotional. modifications when influenced by Karmic materials operating as nimitta condition - Commentary on Samayasara by Prof. A Chakravarti, p. 98 4. jaM kuNadi bhAvamAdA kattA so hodi tassa bhAvassa / 5. 6. NANissa du NANamao aNNANamao aNANissa | samayasAra 126 tamhA Na ko bi jIvo avabhayArI du tumhamuvadese samayasAra, 337 tamhA Na ko vi jIvo vaghAdago atthi tumha ubadese samayasAra, 339 7. jamhA kammaM kumbadi kammaM de di haradi tti jaM kiMci / tamhA sabve jIvA akAragA hoMti AvaNNA | samayasAra, 335 References 8. See p. 126 of Sankhyakarika, Commented upon by Dr Rakesh Shastri (Sanskrit Granthagara, Delhi, 1998) 9. abhiyuktaH zucAnAt tathA coktam SaT zatAni niyujyante pazUnAM madhyame'hani / azvamedhasyavacanAdUnAni pazubhistribhi gauNapAdabhASya sAMkhyakArikA 10. pADikamaNaM paDisaraNaM paDiharaNaM dhAraNA NiyattI ya / - 11. duHkheSvanudvignamanAH sukheSu vigataspRhaH / jiMdA garuhA sohi avaviho hodi visakuMbho // samayasAra, 306 vItarAgabhayakrodhaH sthitadhIrmunirucyate / - gItA, 2.56 Mark the term ga, as if the Gita is aware of the ideal being nearer to Samana culture. - 69

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12. sevaMto viNa sevadi asebamANo vi sevago kovi - samayasAra, 197 13. karmaNyakarma yaH pazyedakarmaNi ca karma yH| sa buddhimAnmanuSyeSu sa yuktaH kRtsnakarmakuta / - gItA, 4.18 14. tyakataM yena phalaM sa karma karute neti pratImo vayaM kintvasyApi kuto'pi kijidapi tanka vizonapatet tasminnApatite tvakampaparamajJAna svabhAve sthito jJAnI kiM kurute'tha na karute karmeti jAnAti kaH // - samayasAra kalaza, 153 15. jo maNNadi hiMsAmi ya hiMsijjAmi ya parehi sattehiM / so mUDho aNNANI NANI eto du vivarIdo ||- samayasAra, 247 16. ya enaM vetti hantAraM yazcainaM manyate hatam / ubhau taba na vijAnIto nAyaM hanti na hanyate / / -gItA, 2.16 17. sukhaduHkhe same makRtvA lAbhAlAbhau jayAjayau / tau yuddhAGgajyasva naivaM pApamavApsayasi ||-giitaa, 2.99 uvabhogamindiyehiM davyANamacedaNANamidarANaM / jaM kuNadi sammadiTThI taM savvaM NijjaraNimittaM / / - samayasAra, 193 / / yaH karoti sa karoti kevalaM yastu vetti sa tu vetti kevalaM / yaH karoti nahiM vetti sa kvacit yastu vetti na karoti sa kvacit / / - samayasAra kalaza 96 samayasAra kalaza Regarding apprehension of this kind, refer to the remarks of Pandit Todarmal quoted by Dr. Hukamchand Bharill in his introduction to Samayasara p. 36 (Jaipur, 1995) -0-0-0 -70

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9. MESSAGE OF PEACE AND NON-VIOLENCE IN AYARO - Prof. M. R. Gelra, Jaipur Introduction Ancient Indian literature is represented mainly by the three leading languages, Sanskrit, Pali and Prakrit. Using Prakrit language, Lord Mahavira, the twenty-fourth Tirthanker of Jain tradition, verbally disseminated his teachings nearly two thousand five hundred years ago on Non-Violence and on the liberation of soul. These teachings are called Nigganthan Pavayana'. First spiritual successor of Mahavira, Gandhar Sudharma, compiled the doctrines and philosophy of Mahavira in the form of twelve Angas or Dvadasanga2. German scholar W. Schubring believed that Jain Angas are members of a unit formed by them and are not additions to something previously existing. A leading Jain Acharya Mahapragya has a different view. According to him, Angas are composed in written form by various groups of Acharyas all of whom had the same base - the knowledge contained in 'Purvas'. In fact the Purvas were the soft copies of Jain philosophy, which remained stored in the supreme computer - human brain. The hard copies in the form of Agamas were composed almost after a thousand years. Angas are most authentic Agamas. More literature was codified in the form of Nijjuties, Vratties, Bhasayas (commentary), Tikas (remarks) by their followers, mainly the Acharyas of the Jain tradition. These treatises extensively deal with various real and ethereal aspects of life, nature, and universe. The spiritual and philosophical thought process had yielded Jain Religion and Jain culture. -71

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First Anga Out of twelve Angas, first is Ayaro. Ayaro is synonym of Acaranga. According to the Niryuktikara3, the first Shrutskandha of Acaranga scripture enjoys the first place because the Acaranga deals with the conduct of ascetics and the practice of three postulates - right perception, right knowledge and right conduct in pursuit of Moksa which is the essence of all. That is why the Acaranga is regarded to be the first and foremost amongst Angas. Hermann Jacobi has pointed out the similarity of archaic style and the linguistic stanzas of Veda and those of Acaranga, and has confirmed that the Acaranga is the first and the oldest canon of Jain tradition. With the passage of time, it is believed that some portion of the text was lost; hence the text has been abridged to certain extent. Out of the nine chapters of the Acaranga, the seventh chapter, "Mahaparijna", has been lost in between the period of 1st and 8th century A.D. Chapters - There are nine chapters in the Acaranga but there were some differences in the names as well as in the order. We find, the following order in the Ayaro, edited by Acharaya Mahapragya. 1. Satthaparinna - Comprehension and Abandonment of Weapons of Injury 2. Logavijao - Pondering over the Nature of World 3. Siosanijjam - Endurance of Cold and Hot 4. Sammattam - Right View 5. Logosaro The essence of the world 6. Dhuyam Shaking off Through Austerity 7. Mahaparijna -The Great Comprehension and Abandonment 8. Vimokkho Liberation 9. Uvahanasuyam - The treatment of penance - 72

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The Acaranga consists of a good number of poetic verses along with prose, as Dr. Schubring has pointed out in the text edited by him. Subject Matter The main contents of Acaranga are as follows: - 1. Concept of soul. 2. Non-violent activity of ascetics mainly the life-style, precepts-man nerisms, education-language, etc. 3. Narration of authentic ascetic life of Lord Mahavira. Concept of Non-violence The very first chapter of Acaranga starts with the concept of soul and with super commentary on the concept of non-violence in relation to mobile and subtle immobile living beings. In this paper we shall try to find the message of peace and non-violence, particularly embedded in the first chapter of Acaranga.. The concept of non-violence is so much highlighted in this chapter that it is included in the fundamental philosophy and ethical practices of Jainism. Truly speaking, Peace and Non-violence are no more subjects of philosophy; they are essentially human conduct. We find in Acaranga the detailed study of the non-violent conduct of ascetics it is the main theme of Acaranga. Mahavira (5) says, "All creatures desire to live and none wants to die. Consider all living-beings are just like you, you should not kill them nor get them killed by others." This wisdom and understanding causes to observe abstinence from violence. The absence of violence in personal and social life leads to peace. The secret of Non-violence (Ahimsa) "says the Dasavaikalikasutra (6.8)" is self-restraint in regard to all living.-beings, which was realized by -73 -

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Lord Mahavira. Restraint means giving up all sorts of violent activities. Restraint in mental, vocal and physical, all types are required. Self-Restraint is possible only on the acceptance of the existence of soul. Sensitivity towards nature Acaranga facilitates the understanding of different states of soul, induced by karma, which are very important from the standpoint of environment. According to Acaranga, souls exist not only in human beings and animals but also in lumps of earth, in drops of water, in the flame of fire, in the wind and in the vegetation. Thy have invisible intelligent life forms which all fulfill their own functions in nature. They all experience pain and pleasure, as they encounter violence or compassion. Jain saint Mahapragyaji says "To establish harmonious coexistence behavior with birds, animals, insects, earth, water, fire, air and vegetation is for human beings a devoted pursuit of Ahimsa. Ahimsa comprises in protecting the legacy of nature. The creation of the Universe is a mutually supportive web. If a single strand of the divine web is touched, it would sensitize the entire web. All the animate as well as inanimate elements in the universe are inter-linked precisely as pearls in a chain' In Ayaro, environment reflects ethical sensitivity towards the nature and the imperative of living peacefully in a world of contradiction and pain, selfishness and exploitation, greed and cruelty. In the ancient traditions, religion is believed to help individuals attain peace and happiness. The attribution of pleasure and pain to the immobile beings such as earth-bodied creatures is an absolutely novel contribution. Jain doctrine, therefore strongly advocates that one must refrain from destroying them. Jain philosophy has been invoking such a commitment as an integral part of society so that human beings do not tinker with the semblance of nature i.e. the embodied souls of earth, water, etc,. The Jains have cultivated the practice to live non-violently with nature, and helped in protecting the - 74 -

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environment and ecology. Jain seers attach great importance to the welfare of plant and other one sensed jivas and produced sacred laws for the care of the natural world. In this way Jains uphold the moral, ethical, mental, and physical values of civilized society. Jain ethical values have paid the highest regards to all forms of life and helped to maintain the peace in the society. Plant body and Human body Among the immobile beings, the plant-bodied beings have manifest consciousness. The comparison of the human body with plant body has been described in Acaranga as follows: 1. As the human body is subject to birth, so the plant-body exhibits signs of birth. 2. As the human body grows up, so does the plant-body. 3. As the human is endowed with consciousness and is possessed of the power of cognition, so is the plant-body. In this way the characteristics of birth, growth, nutrition, metabolism, death, disease, the states of childhood, adulthood and the like consciousness and the like are the most obvious items are described. The comparison of the plant body with human organism in this context attracts the attention of the modern scholars. Suffering is to be avoided, happiness is to be sought for, is the theme of the ethics of conduct. Acaranga, therefore describes the details of hostile weapons to the immobile beings. Jivas 1. Earthly 2. Water 3. Fire 4. Air 5. Plants. Weapons A plough, and axe, a spade etc Sprinkling, filtering, cleaning etc. sand, water, wet plants etc. fans, aroma, fire, hostile air etc Scissors, axe, stone, fire, stick etc. - 75

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Contact with hostile weapons makes them dead. The description of the doctrine of the weapons of injury to the living beings open up a new vista of research in this field. For example, in case of Apkaya (water), there are many varieties of weapons that kill the water-bodied beings. In Niryukti, (6) the weapons are: 1. Drawing out water from a well by means of a vessel. 2. Straining through a thick smooth piece of cloth. 3. Washing cloth, pot, etc. 4. The river water is the weapon of pond water. 5. Earth, soil, alkali, fire, etc., are the weapons of water-bodied beings. The Churni mentions some other varieties of weapons also, such as, change produced in colour, taste, smell and touch. For instance, water when heated becomes slightly brown in colour, smoky in smell, insipid in taste, and hot in touch. The imperfectly boiled water is not lifeless. The salty, sweet and sour water are weapons mutually. The fowl smells usually inanimate (7). In the Upanishads there are discussions about the existence of soul, but the doctrine of six classes of living beings is an absolutely original contribution of the Jains. They are prathavikaya, apkaya, tejaskaya, vayukaya, vanaspatikaya, traskaya. First five are immobile beings. By postulating animated character of the plants and other souls, Jain ethics prohibits the killing or injuring of these non-human species. . It is the principle of self-restraint that enforces the duty of noninterference towards other forms of life. Hence, Jain teachings were not only ahead of their times but were the predecessors of today's champions of environmental concern and ecological balance. It has given message of shunning violence and reverence for life, thus it provides universal appeal. - 76 -

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Concept of Equanimity Mahavira has proclaimed the righteousness of equanimity. By observance of equanimity in practical life one can lead happy social life. Acaranga dealt with the principle of equality amongst all types of souls. When passions decay, the attributes of equanimity take their place. The virtue of equanimity is the heart of Acaranga. . Equanimity means: 1. One should not develop attachment or hatred to one's relation. 2. one should not have laxity in self-discipline. one should not be proud of his caste. 4. one should not indulge in sensual enjoyments 5. one should relinquish the sense of 'mine' ness. Mahavira's supreme Truth is "the souls are conscious entities, things or objects are not. The essence of soul is consciousness, not materiality." This philosophy of Acaranga gave a new turn to the science of Ethics and advanced thought process in the direction of peace. Thus philosophies of non-violent consciousness i.e. reverence for life and restraint attitude is the only way to be eco-friendly that assigns value to it. Philosophy The Acaranga is a very important Agama considering its philosophical value. It should be kept in mind that the Jain philosophy is the vision of perceiver, Commentators have therefore started the commentary by these words 'One of the chief disciples of Lord Mahavira, Sudharma, spoke thus to Jambo: 0, long-lived! I have directly heard this from Lord Mahavira; whatever I am saying is not the imagination of my own mind, but has been told by Lord Mahavira himself (Ayaro 1.37). Acharya Siddhasena has enumerated six eternal truths contained in the Jain philosophy. -77) - 77 -

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Characteristics of Soul 1. Soul exists. 2. It is eternal. 3. It is the subject of action - it is the doer. 4. It reaps the fruits - karma. 5. There is Nirvana - emancipation. 6. There is path to attain emancipation. Souls are infinite in number. However, each soul has its own independent individuality, meaning thereby that each soul has its own independent existence. Neither is there any supreme entity like 'God' of which they are parts, nor are they the manifestations of 'Brahama'. 'Pleasure and pains are self-inflicted' -- this dictum clearly proclaims the independence of the soul Consciousness of happiness and sorrow Consciousness is the characteristic i.e. special attribute of the soul. Empirical souls are in bondage with Karmas. Karmas cause suffering. Mahavira says 'Comprehending the misery of the world avoid its cause -passion. All the sufferings sprout out of passions. Violence is also a cause of suffering. Suffering is caused by passions. If the seed of passions is crushed, suffering gets eradicated altogether i.e. transcends the cyclic path of births and deaths.' Acaranga says, 'Only he who knows the transmigration is the upholder of the doctrine of soul, world, karma and action.' (8) It is possible because bondage and emancipation, both are your own creations. There is an interesting description of the vicious circle of passions. Passions :He who sees anger sees pride. He who sees pride sees deceit. He who sees deceit sees greed. (-78 -

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He who sees greed sees love. He who sees love sees hatred. He who sees hatred sees delusion. He who sees delusion sees conception in the womb. He who sees conception sees birth. He who sees birth sees death. He who sees death sees hell He who sees hell sees animal life. He who sees animal life sees sufferings. The wise monk should, therefore, avoid anger, pride, deceit, greed, love, hatred, delusion, conception, birth, death, hell, animal, life and suffering. Conquering of passions is real liberation. One who is free from passions is a divine soul and experiences peace and happiness here and now. The control on passions causes the individual upliftment and their effect on society is tremendous and commendable. It brings the discipline of good conduct and helps in achieving peace. The first chapter gives the message of non-violence with the details of abandonment of the weapons of violence. Doctrine of Non-Possessiveness The majority of scholars identify with the subject matter of the first chapter of the Acaranga as far as the message of non-violence is concerned. However, a Jain saint Acharya Mahapragya believed, the non-violence must be understood in context of the doctrine of Non- possessiveness as dealt with in the subsequent chapters. In first chapter the principle of non-injury to life had been propounded. Second chapter deals with the world of passions. It is mentioned that there are four fundamental passions anger, ego. deceit and greed. All these passions accelerate the sense of 'mine ness' i.e. possession in all activities. According to Mahapragya, the principal cause of - 79 -

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violence is the sense of possessiveness. Violence is an effect possessiveness is its cause. Modern Economics encourages violence by prescribing attachment to wealth. Mahavira on the contrary preached non-attachment to property. Attachment dominated enterprises are opined as the foundation of social development. Acceptance of this partial opinion is a complete truth has resulted in the spread of violence and terrorism. Mahapragya says " Solve the problem of possessiveness; the problem of violence will considerably minimize" Biography of Mahavira In addition to the above, the last chapter of Acaranga has described the ascetic life of Mahavira. There are four sections in this chapter; the topics are as follows, 1. Itinerary 2. Resting place 3. Hardships 4. Non-treatment of diseases and reduced diet. In this chapter, there is a very realistic description of Mahavira's practice of asceticism, Mahavira's power of suffering and infinite tolerance is mentioned here in this chapter. There is also mention of the troubles and hardships inflicted by humans and animals. But there is no mention of the troubles inflicted by gods. In later literature there is description in great detail of such troubles. There is also mention of tolerance towards cold and hot. This chapter is considered to be an authentic source of the study of the biography of Mahavira. Conclusion Acaranga was composed nearly 2500 years ago, and it states that: 1. a plant, like a human, also has consciousness and perception. This is remarkable, as science established this fact hardly a hundred years ago. 2. Indeed, this canon contains the first formal and detailed proclamation on the environment, which is unparalleled. - 80 -

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4. The attribution of pleasure and pain to the immobile beings such as earth-bodied creatures is an absolutely novel contribution. 3. The doctrine of the weapons of injury to the living beings opens up a new vista of research in this field. 6. The philosophy of Acaranga gave a new turn to the science of Ethics and advanced thought in the direction of peace-process i.e. conservation environment. 1. 2. 3. 4. 5. The doctrine of six classes of living-beings is an original contribution of the Jains. The other feature of non-violence, highlighted in this canon, is the practical and active compassion inherent in the fundamental philosophy and ethical practices of Jainism. 8. 5. 6. 7. Doctrine of Jains by W. Schubring P 73 Do Acaranga Bhasyam by Acharay Mahapragya - Foreword P. 15 Jain studies and Science by Dr. M.R.Gelra P50 Ayaro.5, 101 Acharanga Niryukti Gatha 113 Acharanga Churni P27 Ayaro 1,5 References -0-0-0 - 81

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10. THE NAYA-STORIES IN THE ARDHAMAGADHI AGAMAS - Prof. R.P. Poddar, Pune The third anga thana mention four types of nata / naya, viz. aharana, aharana-taddesa, aharana-taddosa, uvannasovanaya. Each type has four subtypes. Thus, of aharana , the sub-type are : avaya, uvaya. thavanakamma and aduppannavinasi. of taddesa, the sub-type are : Anustthi, uvalambha, puccha, milsa vayaro, of taddosa, the sub-types are adhammajutta, padiloma, attovanita, suruvanita, Of uvannasovanaya, the sub-type are : tavvatthuka, tadannavatthuka, padinibha and hetu. Of the sub-type, the last one, viz. hetu, has four variations : javaga, vamsaga, and lusaga. There is an elaborate discussion on the type and sub-types of nata / naya in the Dasaveyaliya Nijjutti (Ga. 49-88). The context is introduction of the first lesson Dumapupphiya < Drumapuspika. This lesson draws an analogy between the bees sucking honey from the flowers and the monks getting subsistence from the householders. As the bees do not cause any exhaustion to the tree. bearing flowers, so do the monks get alms from the householders without causing any worry to them. The Nijjuttikara comments that the words of the jain are self-established, yet, taking into consideration the listeners, or the pupils, at times an example or reasoning is enjoined to them, sometimes consisting of oive steps (pratijna, hetu, udaharana, upanaya and nigamana) or even of ten (each of the five compounded with suddhi). There are two primary types of aharana-carita (based on life) and Kalpita(created by imagination). 'Nidana' (bartering one's penances for fulfilmentof a desire) leads to suffering, as it happened with Brahmadatta' is of the first type. "Falling yello leaf saya to the green leaf on the tree, 'As I have been, so shall you be' i.e. time will wither you as it did me, is of the - 82 -

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second type. Of each primary type there are four types. The Nijjutti enunciates the four types. their sub-types and the varieties of the last sub type 'hetu' just in the manner of the Thana. However, the Nijjutti has an edge over the Thana. Here each of the sub-types, and sub-sub-types, is substantianed with exemple-stores, indicated just by referring to the main characters, showing thereby that these were current and popular at the time of the composition of the Nijjutti, so much so that mere hint was enough for the listener / pupli to recollect the story. Among examples referd to, there is one of the pundarikanaya too, which constitues the first lesson of the second book of Suyagada' the second anga. Numerous other exampled are extant in the post-Agmic didactic tales. The sixth anga of the Ardhamagadhi Agamas is called 'Nayadhammakahap', The commentator, Abhayadeva, explains the title as,' nayani' ttijnatani-udaharananiti prathamah srutaskandhah; dhammakahao' tti dharmapradhanah kathah dharmakatha iti dvitiah. Now, there is nothing specific in the second srutaskandha, which narrates the legend of goddess kali, and similar others, annexed to it, to justify the epithat 'dharmakatha' to distinguish it from the nayas of the first srutaskandha, which too, though projected as a collection of nayas, is not altogether empty of the dharmakatha!. Then the first srutaskanda itself can justify the title. Relegious Tale of the 'Naya-type', i.e. 'example-stoires in support of religious principle and practices. Some of the stories of the 1st srutaskanda are wholly and obviously example in support of religious principles and practices, while others are long tales to which the exemple-element is pinned somewhere. Sanghataka (2), Andaka (3), Kurma (4),Tumba (6), Rohini (7), Makandi (9), Candrama (10), Davaddava (11), Udaka (12), Nandiphala (15), Akirza (17), Sumsuma (18), and Pundarika (19) belong to the first category; and the rest, Utksipta (1), Sailaka (5), Malli (8), Manduka/ Dardura (13), Teyalisuta / putta (14), and Avarkanka (16), to the second. - 83 -

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In the Sanghataka (2) two prisoners are chained together. One happens be the murderer of the other's son. In spite of this, the two couldn't do without mutual co operation. According to the commentator the point to be proved by this example-story is that the body, though an obstacle to spiritual wellbeing, has tobe nourished for religious conduct. It could as well be that rival individuals or sects should have a dialogue formutual understanding and peaceful co- existence? (sanghata). In the Andala-naya (3) two friends try surrogate hatching of peahen's eggs. One is firm in his conviction. The other is wavering. So he checks his egg again and again and apoils it, The idea projected by this naya is that unflinching faith leads to the goal, the wavering fails. In the Kurma-naya (4) two turtoises (kurma) are confronted by two jackals. One of them recoils at the vary sight of the jackal. He is saved. The other fails to secure himself. He is killed, The idea is that one who carefully guards his mind, speech and body is not swayed by passions; the opposite is .? Tumbanaya (6) drives home the idea of karmic encumbrances upon the soul amd soul's release from these. A dry gourd is wrapped wih straw and painted with clay and then dried; wrapped, painted and dried eightfold. If thrown into water it will naturally sink to the bottom. But the paintings and wrappings coming off in course of time, the gourd will come up and float on the surface of water. So is the soul emancipated when its eightfold karmic wrappings come off. In the Rohina-naya (7) a merchant gives five paddy grains to each of his four daughtre-in-law. charging them to protect properly and return on demand. One rubbishes them, another finds no better use than eating them up, both thinking that they could substitute them when demanded. The third, thinking that there must be reason behind their father-In-low solemnly charg - 84 -

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ing them to protect the grains, preserves them carefully. The fourth sensing the intention of her father-in-law sowed and planted the paddy grains year after year, so much so that at the end of the fifth year. when her fatherdemanded the paddy grains, she had several cart loads of paddy. The grains here are the vratas and the daughters-In-law different types of recipients, - one abandoning, another making them a means of livelihood, some observing them sincerely and the zealots observing and also propagating them4. In the Makandinaya (9) two ship--wrecked sons of Makandi reach an island. There they are captivated by a malevolent goddess who enjoys their company. Once in the absence of the goddess they spot a most horrible place where among several dead bodies, three is one breathing his last, who tells them that he and all the dead there had once been the lovers of that wicked goddes. Sons of Makandi are horrified and they want to flee the island. A yaksa, Selaga, comes to their rescue. He offers to taken them away to the land of eternal peace, provided they do not budge from his back in cource of flying through the air. They agree. The yaksa takes them on his back and flies through the air. In the mean time the goddess returns. Locating her victims by clairvoyance, she overtakes the yaksa, implores the two brothers to come back, with a thousand gestures of love. One of the brothers wavers and slips into the aims of the goddess. The other is rescued. The story is allegorical. The ysksa is the teacher of religion, the brothers are jivas (humans), is samsara, the cycle of birth and death. Candrama (the moon)(10) is an analogy. As the moon waxes in the white fortnight, so does righteousness with a steadfast faith. As the moon wanes in the dark fortnight, so does righteousness with a wavering faith. As the moon is eclipse by rohu, so is righteousness eclipsed by attachment to worldly life. - 85 -

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Davaddava (11) is a kind of vegetation growing on the seashore. it thrives well with the moist wind from the east and also with the dry wind from the west. So do the Sramanas thrive well with the support of their own sect and opposition of the rival sect. Udakanaya (12) relates how a wise minister cleaned the dirty water of a moat. This shows that a deluded and sinful persin too may be brought on the path righteousness by a wise teacher (guru). Nandiphala (indulgence in sensual pleasures) (15) is the prohibited fruit. Those who steer clear of it are redeemed. The allured ones are doomed. (cf. The prohibited fruit in the garden of Eaden). Atinna or Asvanaya (17) is an example of the evils of sensual indulgence. A king having cone to know that there were horses of good breed in a certain island, sends sailors to entrap them. The sailors try to allure the horses with pleasant sound, smell, colours and fodder. Those who are allured, are entrapped. Other enjoy the freedom of the island. There is a story about alluring the sea-hours in the first voyage of Sindvad in the 'Arabian Nights'. Sindvad comes to an uninhabited island where he notices a mare tethered ot a tree. He wonders why should there be a tethered mare in the wilderness. Late in the evening he notices a man who tells him that he is a servant of king Mihrjan of another island. He comes to that island in group. each with a virgin blood-mare. After fastening the mare securely at isolated places, everyone hides hemself in caves. Attracted by the odour of the female a sea-horse comes and covers the mare. Sensing from the whinnies that the horse had finished, he and his men come out from hiding and make load noise to score away the sea-horse. Then they take away the mare who in course of time drops a foal worth a king's treasure. This story seems to be a complement to be Naya-story. - 86 -

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Sumsama (18) is a bizarre story of a girl abducted by a robber, recovered by her father and two brothers, not alive, but dead/ The three carrying the dead body are passing through a desert where there is no vegetation and not a drop of water. When the three, with thirst and hunger, are on the brink of death, they eat the girl's flesh and drink her blood. The story is an example of the animal instinct, in its intensity, setting aside all human consideration. Pundarika naya (19) is a story of two brothers, pundarika and Kandrilka, one, the king and the other, heir apparent, In a youthful exuberance, the king renounced worldly life and became a wandering mendicant. Soon he fell ill and came home to recover. He did recover, but he was loath to resume his monastic life, The younger brother guessed it, stepped down and requested his elder brother to rule the country. He himself became a monk. He too had to face the troubles of monastic life. But ne was not shaken because his resolve was firm. The story is an example of failure of half-hearted decision and success of a well thought out one. Among the tale-type nayas, Utksipta (1) tells the story of birth and renunciation of prince Meghakumara, son of Ajatasatru, the king of Magadha. The prince was initiated into the order by Lord Mahavira. On the very first night he was allotted a place near the passage at right passers-by would tread on his feet. The prince couldn't have a wink of sleep. the next morning he approached Lord Mahavira for permission to return to worldly life. The Lord knowing his feelings, related to Megha his previous birth. Then he was a king elephant. when a wild fire raged, he took shelter at a place a look from the wilderness. Several smaller animals surrounded him. There was such a dearth of space that one would ride on the other. The king elephant raised one of his feet (to scratch another). In the mean time a rabbit jumped into that space. To save the rebbit from being trampled, the elephant held his - 87

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food in the raised position (ukkhitta< utksipta) for three days. Inspired by this compassion and forbearance in his previous animal life, the prince sreadied himself in ascetic conduct. This naya is an example of how one who has decided to throw off renunciation (utksipta), may be re-harnessed to it by proper teaching. Another tale-type naya is that of king Sailaka (5) who had renounced and become a monk. Because of hardships of ascetic life, he fell ill. He chose the stable of his erstwhile palace for a temporary shelter. He was treated by the court physician who inter alia prescribed alcohol. Though the king came round yet he preferred to continue the spirituous drug. All his companions left him except one who, one, day while touching a drowsy without a shrink on his face. This forbearance of the highest degree opened Sailaka's eyes and he steadied himself in monastic conduct. The story is an example of forbearance par excellence and its magic effect. The next tale-type naya is that of Malli, the nineteenth Tirthankara, a woman according to the Svetambaras and a man according to the Digambaras. This naya is an attempt to establish simultaneity of Tirthankarahood and womanhood. Math, as mahabala in her proceeding wordly life had to her credit all the karmas reseking in Tirtankarahood (tirthankaranamakarman). But the performance of these Karmans had been tinged with mayacara-deceitful conduct, which result in womanhood, So the net result was simultaneity of Tirthankarahood and womanhood. In the Daddura / Mandukka naya (13) the point to be established is evasive. The commentator tries to elicit one A virtuous person too loses his virtues if estranged from good company (read, if leaning to a heretical sect), as it happened with Maniyaras Setthi, who had to be born as a frog. On the other hand of one surrenders to the tirthankara even in one's thought, one wins godhood in next life, even though tiryancain the present one, as it happened with the Maniyara-frog. -88

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The Maniyara-frog died in a short while. Because of his pious resolve he was born in the saudharma kalpa heaven." The point of view to be established by this naya is, 'Welfare activities without right faith result in suffering and degradation as it did in case of ManiyaraSetthi. The Teyali-putta-naya (14) too is evasive in delivering the objective. Teyaliputta, minister of a king, voluntarily weds a low born girl, Pottila, because she is extremely beautiful. king Kanakaratha is maniacal. He kills the baby that the queen Padmavati bears. Once when the queen was about to deliver, she asked Teyaliputta to rescue the baby somehow. Pottila too was expecting and it so happened that both the women delivered on the same night. Teyaliputta exchanged Pottilla's girl baby with the Queen's boy baby. The girl baby was killed and the boy baby was raised by pottila. Teyaliputtanamed him Kanakadhvaja. Kanakaratha died. Teyaliputta divulged the secret and co-ordinated kanakadhvaja. The naya points to the flitting nature of human relationship and the abiding bliss of renunciation. Avarakanka naya (16) is a zigzagging narrative, following the protagonist through several births, It begins with Nagasari a housewife who deliberately offered such food to a monk, as happened to be harmful. As a result of this she had to face the wrath of her family members and neighbours and then pass through several painful and desperate lives. This naya is an example of the evils of deceitful behaviour towards a monk. Nayadhammakahao is a collection of nayas varied expanse and texture. Stray occurrences of nayas may be traced in other books of the Agamas as well. The first lesson of the second book Suyagada called pundariya is a naya. - 89 -

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There are numerous example-stories in other Agamic texts, though not called naya,yet serving the same purpose. Example-stories may be used in support of one's proposition and also to counter the opponent's proposition. There are a good many of the latter type in the debate between Kesikumara-sramana and king paesi (pradesi ?) in the second Upanga-Rayapasenijjam. To establish his point of view - "tajjivo tam sariram', paesi argues inter alia that he thoroughly dissected a living jiva - soul was not traced. Kesikumara - sramanna countred it with the story of a foolish wood-cutter who cut the arani-sticks into pieces to produce fire. The tradition of naya gains dimension in the Nijjutti ! Curnis and the commentaries and above all in later didactic literature such as Upadesamala, Upadesapada, Bshatkathakosa, kathakosa-prakarana, Akhyamakamanikosa, kathakosa (kaha-kosu) etc. Collecting and collating the example-stories from these and other such compositions remains a desideratum. Then 'naya' as derivative of 'jnata' and 'jnata' meaning an example - story', has to be taken with a pinch of salt. Phonetically 'n(n)aya'may be derivative of 'jnata'. But 'jnata' literally meaning an example-story is not supported either by etymology or by usage. This may, however, be a figurative meaning. In the five numbered syllogism, pratijna, hetu, udaharana, upanaya and nigama, the udaharana-example, has to be 'known or the syllogism will crumble. So the udaharana-example, may be called "jnana' or 'dssta'. Another possibility is that the tatsama form might have been used to introduce an example-story, "jnapakam casya paksasya sruyatam yanmaya srutam", "Now listen to the example-story supporting this proposition that! heard and the example-story follows. According to this supposition. jnapaka>nayaya (there is occurrence of *naya' enlarged as 'nayaya and derivation from 'jnataka,') Now 'nayaya' may the apocopated as 'naya'. This derivation is more consistent then the former. - 90 -

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In all probability it is 'naya' which has been hyper-Sanskrtized as 'nyaya', in the sense of a popular maxim, because all 'nyayas' are the cath-words of some diminutive example-story, for example 'vrddhas-kumarivara-nyaya': A poor old maid asks for a boon-'Putra' me bahuksiraghstamodanam kancana-patryam bhunjiran (let my sons et enough of rice, ghee and milk from a gold bowl'. This 'nyaya' is based on the story of an old maid who is granted only one boon. She makes it comprehensive enough to include a husband, sons, cows and riches. Naya has a natural transition in the old Hindi adverb naim Page #134
11. RISHIBHASHIT: A PRAKRITA WORK OF UNIVERSAL VALUES - Prof. Sagarmal Jain, Shajapur Rishibhashit is one of the oldest works in Ardhamagadhi Jain canonical literature. In the ancient Jain tradition it was recognized as an important canonical work. In Aavashyak Niryukti Bhadrabahu has expressed his intent to write a Niryukti on Rishibhashit. As no such niryukti is available todays it is difficult to say that if it was written at all. Of course, Rishimandala. Which finds a mention in Acharanga churni, certainly appears to be a later work which was may be based on that niryukti. All this goes to prove that up to a certain period Rishibhashit must have been an important work in Jain tradition, Sthanang refers to it as a part of Prashnavyakarandasha. Samvayang has mentioned about its forty-four chapters. As already mentioned Nandisutra, Pakkhisutra etc. include it in the classification Kaliksurat Aavashyak Niryukti classifies it as a work of Dharmakathanuyog. Style and Period of Rishibhashit: According to its language, style, and subject matter, this is an extremely old work among the Jain canonical works of Ardhamagadhi language. I consider this work being of a period slightly later than that of first Shrutaskandha of Acaranga but earlier than that of other ancient works like Sutrakritang, Uttaradhyayan, and ashvaikalika. Even its present form can, under no circumstances, be dated later than 3rd or 4th century B.C. As per the information available in Sthanang this work was originally a part of Prashnavyakarandasha; the ten Dashas described in Sthanang. Samvayang informs that Rishibhashit contains 44 Chapters. Thus Rishibhashit certainly pre-dates these works. In Sutrakritang there is a mention of ascetics like Nami, Bahuk, Ramaputta, Asit Deval, Dvaipayan, and Parashar with the - 92-)

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indications about their ritual beliefs. They have been addressed as ascetics and great men. These ancient Rishis have been recognised by Suttrakritang, with the exposition by Arhat. All these Rishis attained liberation in spite of their consumption of seeds and water. This is a firmly established fact, that this work was created prior to the being Jainism and sectarian organization. Study of this work explicitly indicates that at the time of its writing Jainism was completely free from sectarian bias. Mankhali Goshalak and his philosophy find mention in Jain canons like Sutrakritang, Bhagvati, and Upasakdashang and Buddhist works like Suttanipata, Deeghnikaya (Sammanjafalasutta). Although there is no specific mention of Mankhali Goshalok in Sutrakritang, yet its Niyativad has been commented upon in its chapter titled Aadrak. Analyzing form the view point of the development of sectarian outlook in Jainism, the fifteen sataka of Bhagvati which deals with Mankhali Goshalak clearly appears to be of later period than even Sutrakritang and Upasakdashang. These two works as well as many other works of Pali Tripitaka mention the Niyativad of Mankhali Goshalak and then counter it 1, unlike Bhagavati, these works such as Suttanipata has recognised the influential personality and value of the teaching of Mankhali Goshalak by including his name in the list of six teerthankaras contemporary to Buddha. Rishibhashit has gone a step further and eulogized him as Arhat Rishi. Considering from the view point of language we find that Rishibhashit has, to a larger extent, maintained the most ancient form of Ardhamagadhi Prakrit. For example in Rishibhashit Atma has been mentioned as Ata but in later Jain Anga literature Atta. Appa, and Aada. Aaya have been used, which are the variations, belonging to prakrits of later period. The free use of the consonant 'ta' conclusively puts this work in an earlier period than -93 -

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Uttaradhyayan as in Uttaradhyayan there is a tendency of avoiding this consonant. Rishibhashit also abundently uses word-forms like, Janati, Paritappati, Gachchhati, Vijjati, Vijjati, Pavattati, etc this also confirms the antiquity of this work in context to both, subject and language. The historic background of Rishis of Rishibhashit: It is clearly established fact, that most of the Rishis of Rishibhashit were not connected with Jain tradition. The adjectives like Brahmin Parivrajak indicate that they were from non-Jain traditions. Also, some names like Dev-narad, Asit-deval, Angiras Bhardwaj, Yajnavalkya, Bahuk. Vidur, Warishen Krishna, Dvaipayan, Aruni. Uddalak, Narayan has been popular in Vedic tradition and their teachings are intact in Upanishads, Mahabharat, and Hindi Puranas even today. The names of Dev-narad, Angiras Bharadvaj, Dvaipayan also find their mention in Sutrakritanga, Aupapatik, Antkritdasha etc. Besides Rishibhashit in Jain tradition, these names are also found in Buddhist Tripitak literature. Similarly, Vajjiyaputra, Mahakashyap, and Sariputra are famous personalities of Buddllist tradition and are mentioned in Tripitak literature. Mankhaliputta, Ramputta, Ambad (Ambashta), Sanjaya (VelatthiPutta) are such names which belong to independent Sramanic traditions and their mention can be found both in Jain and Buddhist traditions. Prof. C. S. Upasak, in his article "Isibhasiyam and Pali Buddhist Texts: A Study" has discussed in details those Rishis of Rishibhashit who have been mentioned in Buddhist literature. This article has been published in Pt Dalsukh Malvania Abhinandan Granth. Parshwa and Vardhaman are the famous names of, twenty third and twenty fourth Teerthankars of Jain tradition. Adrak is also found in Sutrakritanga besides Rishibhashit. Besides these, Valkalchiri, Kummaputta, Ketaliputta, Tetaliputta, Bhayali, Indranaag are the names most of whom are mentioned in Isimandal and other Jain works. -94 -

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Valkalchiri and Kurmaputra etc. are also mentioned in Buddhist tradition. However, even those who are neither mentioned in Jain nor is Buddhist tradition, cannot be termed as fictitious, because they may be belong to some other minor sects of the sramanic tradition. This is a firmly established fact that this work was created prior to the Jain religion being a sectarian organization. Study of this work explicitly indicates that at the time of its writing Jain religion was completely free of sectarian bias. Analyzing from the view paint of the development of sectarian outlook, the portion of Bhagvati which deals with Mankhali Goshalak clearly appears to be of later period From the viewpoint of religious tolerance, the period of Rishibhashit is earlier than that of Pali-Tripitak. Rishibhashit indicates that it had been written much earlier then beginning of sectarianism in the Jain tradition. Except the first Shrutaskandha of Acharanga all the other Jain canonical works reflect sectarian views in varying degrees. This proves that, leaving aside the first Shrutskandha of Acharanga, Rishibhashit is the oldest one, of all the Jain-canonical works. Even the language and the style of it indicate it to be a work of a period of some-where between first Shrutaskandha of Acharanga and first skandha of Sutrakritang. In Isibhasiyaim , the teaching of the forty five renowned saints of Sramanical and Brahmanical schools of thought such Narada, Bharadvaja, Mankhali-Goslila and many others have been presented with due regards. They are remembered as arhat rishis and their teachings are regarded as an agama. In the history of world religions there is hardly any example in which the teachings of the religious teachers of the opponent sects were included in one's own scriptures with due esteem and honor. Evidently, it indicates the latitudinarian, unprejudiced and tolerant out look of the author. - 95 -

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Universal values of Rishibhashit Rishibhasita contain various teachings of those Rshis, which have a universal value and can solve the various problems of our modern society. We are living in the age of science and technology. Science and technology has given us all the amenities of life. Due to the tremendous advancement in science and technology now a days, life on earth is so luxurious and pleasant that it was never before, yet because of materialistic and mechanical out look and selfish nature, which we have developed these days, no body is happy and cheerful. Our desires have no limits. These unfulfilled desires create frustrations and tensions. Rishibhashit mentions that "Yearnings are countless. An individual docketed in yearning attracts miseries numberless. The sole means of getting rid of miseries is by being yearning less. One engrossed in desires would not recognize his parents and teachers. To him they are of no significance. Such a being is prone to run down saints, princes and gods. Desire is the root of all bondage. It causes bereavement as well as multiple reincarnations. Desire-fulfillment obliges him who has scorned it. One who conquers desire with desirelessness is the heir to lasting happiness". 40/1, 2, 3, 4 "The aspirant should abstain from violence that results from his own deeds, at his instance or on his endorsement accruing from his ideation, word or deed. Nor should he abet another to indulge in such a heinous act. This is the prime mark of a true doctrine. The seeker should neither covertly nor overtly utter falsehood nor abet another to do so. He should not preach falsehood. This is second attribute of a true doctrine. Neither should he covertly or overtly neither accept alms nor lead another to do so. This is the third attribute of a true doctrine. Such a devotee should never in thought; word and deed indulge libido and acquisition. He should neither himself lapse into these vices nor abet another or sanction such a deed ex post facto. This + - 96 -

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is the fourth attribute of a true doctrine. The aspirant should stay scrupulously intact of all lure temptation and practice non-violence and non-attachment. He should be free of vices and utterly reticent, quiet and unattached. Harboring no proclivities, he should stay tranquil and disinterested in things around". 1/2, 1, 2 We are living all the times in tensions and deprived of even a sound sleep. The people and nations in scientific-technology more advanced and materially more affluent, having all the amenities of life are more in the grip of mental tensions. Medical and psychological reports of advanced nations confirm this fact. Tendency to consume alcoholic and sedative drugs is increasing day by day in these nations, which shows that we have lost our mental peace at the cost of this material advancement. Not only this, we have also been deprived of our natural way of living, due to this scientific advancement. S. Bothara maintains" what unfortunately happened is that the intoxication of ambition and success over nature has made us forget even the natural discipline which we inherited from animal kingdom". "We have not only denied accepting social and religious check-post but we have also denied natural check-post. Now our life has only accelerator, no brake. Our ambitions and desires have no limits, they always remain unfulfilled and these unfulfilled desires create frustrations and frustrations or resentments which are the cause of our mental tensions. Thus we are deprived of mental peace and happiness. In this regard Rishibhashit says "Be alert. Never muffle up religious practices. Else sin and desire shall deprive you of your benefic deeds and lead you to a tragic destiny. Be vigilant, O man. One inwardly alert is still conscious while asleep. Indolent is never happy while the vigilant is ever happy. Exploration of desire is painful. Its satiation is a day-dream. Its unfulfilment is again painful. True happiness indeed lies in desirelessness. Libidinous mighty princes with immense resources at the | -97 -

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command ultimately met a compulsive doom. The mighty beings that have mastered their senses and freed themselves of the demon of desire are salts of earth. Glory is to them. Such pious beings surmount the ordinarily insurmountable oceanic world in a jiffy. Indulgent beings have only one destinythat of in terminally plodding on the odyssey of mundane sufferings". (35/ 20 and 22 and 28/ 9, 10, 18, 19). Secondly, owing to tremendous advancement in science and technology, we have light legged means of transportation; physical distances have no bars to meet the people of different nations, cultures and religions. Nowadays world is shrinking, but unfortunately distances of our hearts is increasing day by day unluckily and disdainfully. Instead of developing mutual love, faith and co-operation, we are spreading hatred and hostility, while Rishibhashit always maintain that the advancement in our scientific knowledge has removed our religious superstitions and false dogmas, but unfortunately side by side it has also shakened our mutual faith and faith in higher values of life. The old social and spiritual values of life, acting as binding force on humanity and based and our religious beliefs has been made irrelevant by the scientific and logical out look. Today we strongly rely on the atomic power as our true rescuer which is in no way our true rescuer but destroyer. We know much more about atom and atomic power than the values needed for a peaceful and meaningful life. Rishibhashit maintains that it is concept of non-violence, which can be a true rescuer of human race. In Rishibhashit it is said that "Living beings should offer food to other living beings to grant them a secure existence and freedom from misery. As we experience distress due to injury, burn, irritation and pain, so do other organisms. All beings dislike death and injury. They cherish kindness. Keeping this in view, the aspirant should shun violence and killing. Non-violence consoles and reassures every body. Non-violence is like the immanent God in all beings". (45/ 17-20) - 98 -

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The advancement in all the walks of life and knowledge could not sublimate our animal nature, the animal instincts and passions lying with in us are still more dominating our individual and social behavior. Owing to scientific advancement our success has made us greedier. We remain all the time greedy and self-centered. Science and technology provided us atomic weapons for our safety, but remain unable to provide a sense of security. Though these arms and weapons are considered as means of security, yet instead of giving security they generate fear and thus a sense of insecurity in the opposite party which causes a mad race of nuclear weapons. Among the most burning problems, the world is facing today, religious fundamentalism and intolerance is the most crucial. The miraculous advancement in science and technology provided us light legged means of transportation and communication. As a result our world is shrinking, but unluckily and disdainfully the distances of our hearts are widening day by day. Instead of developing mutual love, co-operation and faith, we are spreading hatred and hostility and thus ignoring the values of harmonious living and co-existence. The blind and mad race of nuclear weapons is a clear indication that the human race is proceeding towards its formidable funeral procession. Rabindranath Tagore rightly observed "For man to come near to one another and yet to ignore the claims of humanity is the sure process of suicide. In the present circumstances, the only way-out left for the survival of mankind to develop a firm belief in mutual co-operation and co-existence. Religious harmony and fellowship of faiths is the first and foremost need of our age and Rishibhasit propounds this religious harmony and fellowship of faith. Undoubtedly, we belong to different faiths, religions and cultures. Our modes of worship as well as way of living also differ to some extent. There is also no denying the fact that our philosophical approaches and viewpoints =-99 -

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are divergent, but among these diver ties there is a common thread of unity which binds all of us, and it is nothing except humanity. We all belong to the same human race: Unfortunately, at present, humanity as such is largely shoved into the background and differences of caste, colour and creed have become more important for us. Today what is awfully needed is religious tolerance and fellowship of faiths. Rishibhashita propounds various concepts of universal values, such as non-violence, mental peace or relaxation from tensions, mutual faith and co-operation, non-possessiveness, religious harmony and fellowship of the faiths. In its first chapter Narada propounds four basic vows of universal values he said that the aspirant should abstain from violence, false-hood steeling and attachment. He should have control over his sense organs. He should be free from all vices and should stay tranquil and disinterested in the worldly enjoyments. These universal values are repeatedly propounded in Rishibhashit in its chapters seven, thirty one, thirty three etc. Thus Rishibhashit firmly propounds three universal values of non violence, tolerance and non attachment; which can solve the various problems of our present world. I would only like to conclude that Rishibhashit is a valuable work not only of Jain tradition but also of the Indian tradition as a whole. The religious tolerance of Indian thought is truly reflected in this work. It also has a historical importance because it provides valuable and authentic information about many known and some unknown Rishis and their preaching. It also contains the basic principles of universal values Jain Acharyas have done a valuable service to Indian literature and culture by preserving this work. In fact this work is an undeniable proof of historical existence of many Indian Rishis of the period between 10th and 5th century B. C. -0-0-0 - 100 -

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12. PRAKRIT COMMENTATOR ADHYATMI BALACANDRA - Dr. Kamala Hampana, Bangalore One of the outstanding commentators in Kannada literature is the monk Balacandra (1176-1231 CE). Since he was chief of monks, he is always referred as Balacandra-munindra. He was the pupil of Saiddhantika Chakresvara Nayakirti Vratindra (1175 CE). He has written excellent commentaries for very many original Prakrit philosophical treatises. His selection of Prakrit texts and acaryas like Kundakunda alias Padmanandi, also speaks of his high standard of choice and balanced judgement. It may be recalled in the context that it is Balacandra who instructed Boppana Pandita who had the title of Sujanottamsa, 'crest jewel of the virtuous', to write the famous Gommata jinastuti, 'hymn of Gommatajina alias Bahubali'. Balacandra's talents were manifaceted. Highly versed in Kannada, Sanskrit and different dialects of Prakrit, his erudition in canonical language had placed him at the summit, of contemporary scholars. His pious and virtuous life made him venerable and earned him the title of Charitrachakresvara, best among monks of transparent character. He preached and practised, read and wrote, guided and inspired many. His scholarship was not confined to sastras only. As a creative writer, he has written jina-stuti containing about 20 vrutta verses of quest for spiritual knowledge. Balacandra did not confine his scholarship to write commentaries for Prakrit works alone. He has written an exhaustive, and the best of commentaries in Kannada, on the Sanskrit Tattvartha-sutra of Umasvami (350-400 CE), in ten chapters. Once again Balacandra's extensive knowledge of the subject of Jaina philosophy and mastery in Sanskrit and Kannada languages are vividly reflected in this unique commentary. - 101 -

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To understand the Agamas is not that easy. The reader should be well equipped with fundamental training. The Prakrit Agama's were brief and were in sutra style. Jaina canons, were religious treatises and highly philosophical in its content. Hence to facilitate the readers, commentaries like Niryuktis, Bhashyas, Chiurni's and Tikas were composed. Those who wrote such commentaries were erudite scholars and were trained in the traditional scholarship. Therefore, they explained and expanded the original sutras with appropriate examples. Some times anecdotes and stories were quoted. In brief, the commentaries were storehouses of knowledge. Generally Niryuktis and Bhashyas were also in Prakrit language, where as Curnis were composed by blending both Prakrit and Sanskrit. But, for the Tikas Sanskrit language was employed. In the context of Kannada literature, it is to be underlined that from the early period, Kannada commentaries were written mostly based on the Sanskrit Tikas. However, it should be remembered that Kannada commentators were equally good in Prakrit, Sanskrit and Kannada. Some of them were monks of eminence. With this in background, I have attempted to introduce some of the Kannada commentaries of Prakrit works. Adhyatmi Balacandra, Bahubali, Meghacandra, Bhrajisnu, Padmanandi, Padmaprabha, Prabhacandra, Kesavanna and others have authored Kannada Tikas to Prakrit Agama-sastra granthas. Poet Boppnna Pandita (12th century AD) who wrote the famous Gommata-jina-stuti, describes Balacandramuni as versed in true knowledge, who possessed the science of soul-knowledge and whose fame was bright [Epigraphia Karnatika, vol. 2 (Revised). Inscription no. 336 (234), 12th century]. The epithet 'Adhyatmi' itself indicates the spiritual status and personality of Balacandra. The Asrava-Tribhangi, Prabhrutaka-traya [SamayasaraPrabhruta, Mokkha-pahuda, Pravacanasara, Pancastikaya] - are some of the 102 -

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Prakrit works for which Balacandramunindra wrote Kannada Tikas which is also called sutranugata vitti. His commentary conforms to what has been said in the originals sutra or aphorism. Balacandra has highest respect for Kundakunda Acarya. In fact, as a monk he belonged to Mulasamgha desiya gana Kundakunda-anvaya Pustakagaccha. Therefore, his first preference goes that great Digambara saint - scholar Kundakunda. As a result he has selected Pancastikaya, Pravacanasara and Samayasara - the three major works which are more popularly known as the 'Prabhrutaka-traya' or the Prabhruta-triad. Balacandramunipa has followed a uniform methodology by first quoting Prakrit gathas followed with Vyakhyanas. Generally his commentary is concise and comprehensive. But whenever Balacandra feels that there is scope and need for expansion of the gathas, he elaborates. Though brevity is his watchword, he deviates only to facilitate the common reader. Most of the works with Kannada commentary for Sanskrit works have been published. But, it is regrettable that many of the Kannada commentaries for Prakrit works are still in the manuscript stage, awaiting publication. Jogasara (Yogasara); Davvasamgah (Dravyasamgrah); Kammapayadi (Karmaprakriti); Pavayansara (Pravacanasara); Puvvanappeha (Purvanupreksa); Payadi-Samukkattana (Prakruti Samutkirtana); Paramappayasu (Paramatma Prakasa); Barasa-Anupeha (Barasa Anuvekka = Dvadasa Anupreksha); Tiloyasara (Trilokasara); Visa-parupana (VimsatiPrarupana which is another name for Jivakanda of the Gommatasara), etc. are some of the works for which Kannada commentary has survived. Samastha Saiddhantika Cakravarti N ayakirti (1176 CE) was an important acharya of his times. He had a galaxy of famous monks who were his disciples which included Balacandra, Bhanukirti, Damanandi, Maladharideva, Sridhara, Maghanandi, Nemicandra, Padmanandi and 103 -

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Prabhacandra [Epigraphia Carnatika, volume II. Inscription nos. 73, 444, 445, 457]. Some of these renowned friars were contemporaries of Balacandra who had Nayakirti and his pupil Sagaranandi as his spiritual masters. Interestingly, authentic sources are extant which provide information to reconstruct the life of Balacandra who stands tall like Gommatasvami amongst Kannada commentators. He was lucky to study with and get proper guidance from eminent saint-scholars of his times. Balacandra's decision to write commentaries was indeed a wise one, because by the time he appeared on the literary stage, Kannada language had witnessed remarkable epics and excellent classics. Though Kannada opened its literary chapter with commentaries in the late sixth and early seventh centuries, subsequent centuries saw an effiorescence of poetry. Even Nagavarma (1047) who enriched Sastraliterature, did not select Prakrit works. With this background, Balacandra must have contemplated the need for commentarier for basic Prakrit works. Thus he made an historical decision to shift his talents to focus on bringing back Prakrit basic texts to the central stage. Balacandramuni stayed at Sravanabelagola from where he inspired many to promote Jinavani. He figures in many contemporary records and is referred by various aliases such as Balacandra, Adhyatmi, munindra and Balacandradeva. In one of the inscriptions he is praised as Caritra Cakreswara and this- epithet reflects the venerable status that he enjoyed in his times. His name and fame spread far and wide. Making pun of his name bala-candra, 'waxing moon', he suggests with modesty that 'this balacandra is like a moon to the Kuvalaya flower, the bhavyas'. It is well-known that the Kuvalaya or the blue water lilly flowers blossom in the water when the moon appears on the sky. In fact Balacandra had left his imprints on his contemporary society. The title Traividyadeva or sidhanti - 104 -

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was given to an expert in Sabdagama, Yuktyagama, and Paramagama. Therefore, to earn such birudas was not that simple. It required the monk to have studied long for years and master the basic canons. Aciyakka, wife of Candramouli, a minister of Ballala II, the Hoysala king, was also a disciple of Balacandramuni. She commissioned a magnificent Jaina temple on the outskirts of Sravanabelagola, dedicated to Parsvanatha Tirthankara in 1101 CEO [EC. II(R) nos. 73, 285-86, 293, 295, 298, 336, 444-445, 457,571; EC. IV. Ng. 70). His activities had inspired many householders to indulge in meritorious acts. Some of his lay votaries have also propagated Jaina faith. Somisetti, a disciple, had endowed lands for the perpetual worship of Jaina Parsvadeva. One more disciple, Gommata setti, has gifted lands to the worship of Gommatadeva. Bammisetti son of Ketisetti, another disciple, has caused to be made on image of kusmandini. Ankisetti, Sumkada Bhanudeva Heggade and Kalaleya Mahadeva Setti have commissioned the images of Abhinandanadeva, Ajitabhattaraka and Mallibhattaraka respectively. In brief Adhyatmi. Balacandramunipa can be rightly called as the king of Prakrit commentators in Kannada language. He shines like a star on the vault of commentators. References 1. Nagarajaiah, Hampa : Vaddaradhane - Samagra Adhyana, Bangalore, 1999, 2. Narasimhachar, R: Kavicharite, vol. 1: 3. Sannaiah, B.S.,: "Praksuta Granthagalige Kannada Tikegalu', JainismA study, (ed) Kalghtagi, P.G., Dept. of Jainology and Prakrits, Mysore, 1976, pp. 99-105. 4. Subhacandra : Adhyatmi Balacandra-1176', Kannada Sahityacarite, (eds) Nayak, H.M., Venkatacalasastry T.V., volume 4, Kannada Adhyayana Samsthe, Mysore, 1977,pp. 887-901. 5. Upadhye, A.N.,: (ed) Pravacanasara, Bombay, 1935. (ed) Paramatma Prakasa, Yogasara, Agas, 1973 -0-0-0 - 105 -

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13. SOME DISTINCTIVE FEATURES OF PANCASTIKAYA - Prof. Dr. Nalini Joshi, Pune Introduction When we look at Jainism, as a philosophical system (Darsana) the available Jaina literature can be devided into four ages. i) Canonical Age ii) Anekanta Age iii) Nyaya Age 'iv) Navya-Nyaya Age!. According to this division we can place Acarya Kundkunda, on the border line of the first and second age. We can call it post-canonical period in which the topics like pramana, naya, saptabhangi, anekanta etc. entered in the philosophical thoughts of Jainas. Acarya Kundakunda and Vacaka Umasvati are the self-illuminated stars of this age. There is no need to introduce Kundakunda, the literary giant and a saint with ultimate spiritual aspirations. I will prefer to throw light on some distinctive features of Pancastikaaya? based on my humble observations. 1. Probalbe chronology of Kundakunda's works: (According to subjec-wise focus) If we try to fix the chronology of the works of Kundakund, Astapahuda, Dvadasanupreksa and Dasabhakti belong to first group. Pravacansara and Pancastikaya belong to the second group. Samaysara is no doubt the crestjewel of the monumental literature. Though ratnatraya and nava-tattvas are discussed in each text, the focus of each treatise is seperate. The focus of Pancastikaya is of course of five extended and extensive substances and course the sixth dravya viz. kala (time). The words samaya and pravacana are very much favorite of Kundakunda. Therefore while describing five astikayas, he says "HAARI TUTE DITASIA l'. ? At the end of Pancastikaya, he declares, ufori Taurin CarerTEHT I'. 4 In the initial benedictory verse, Kundakunda says, 'UTH fronui fechali which reminds Ardhamagadhi tex'Urhu feronui ferChallui'Avasyaka." - 106 -

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2. Arbitrary usage of the terms indicating philosophical categories : It seems that in Pancastikaya some terms or expressions are used ambiguously and equivocally. These terms are dravya, padartha, artha, bhava and tattva. The term tattva (tacca) is used in Astapahuda and others in Pancastikaya. In verse 16, Kundakunda says, 'Har tarctur'. The commentators explain that 'jIvAdayaH SaT padArthAH', but immediately they give the names of six dravyas. In Dvadasanupreksa, Kundakunda says, taife Teretui HAT3T forEIC CIPTI' 6- Here the term padartha is used in the sense of dravyas. After completing the chapter of five astikayas Kundakunda says, aft prerojot HERGET allesgif 1'? - Here he means the nine categories. In verse 108, he mentions nine padarthas as 'Edifa a est l'. In Darsanapahuda, he mentions, 'Jecod, ura oren, zet Hat de forfest l'.' In this particular context he is quite clear about the concepts of dravya, padartha, astikaya and tattva. But still 'Bhava' and 'Artha' remain unexplained. The terminology used in Pahuda is not followed strictly in other places. Dr. M.P. Marathe has pointed out the same difficulty in Tattvartha in the 'Studies of Jainism?? Dr. S.S. Barlingay has tried to understand the difficulty in the prespective of the development of other philosophical systems. The Vaisesikas use the term padartha and dravya while Samkhyas use the term tattva. In the course of time, the nine or seven ethical tenets of Jainism are generally called as tattvas. Six physical realities are dravyas. Five extended substances are astikayas. The terms 'padartha', 'artha' and 'bhava' are used while explaining these terms. It is very interesting to note at the end that Sthananga uses the word 'sadbhavapadartha' for nine tattvaso while Uttaradhyayana uses the word *tathya' (ailed) for it.' - 107

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3. Concept of Kala in Pancastikayas : According to Vaisesikas, kala is a dravya-padartha, Kundakunda explains kaladravya in total 8 verses in Pancastikaya. This is not the place to describe kala-dravya at length. We know that Svetambaras and Digambaras different about the concept of Time. One point is noteworthy that Kundakunda does not mention the count of pradesas and kalanus in the text of Pancastikaya. Tatparyavrtti adds all these details, which of course is the further development. 4. Analogy given for 'Adharma' in Pancastikaya : The stock example for dharma and adharma are generally given as that of 'a fish and water' and 'a traveler and shade of a tree' serially. In Pancastikaya, adharma is explained likewise. "Moving things whether animate or inanimate are not arrested and brought to rest by the earth. But if there is no earth to support, there will be no possibility of rest for moving things'. The example of 'earth' given by Kundakunda is very much convincing than caya-pathik analogy. It reminds us the law of gravitation discovered by Newton while observing an apple falling on the ground. 5. References of Vaisesika and Buddha Views : Kundakunda has taken notice of the famous Vaisesika-sutra 'procedur STRIPT! in Pancastikaya. He explains Jaina views about sabda and discusses the qualities of paramanu in verses 74 up to 82, with great enthusiasm. He says, 'Sound is not a quality of akasa. It is paudgalika, but still sound is not contained in the paudgalas. If the skandhas constituted by primary atoms strike one other, there is sound'. Vaisesikas are his chief opponents. The expressions in verse 50 are very eloquent in refuting 'samavaya' as a seperate padartha'. Likewise the terms like 'ucceda', 'sunya' and 'vijnana' are used in verse 37, to refute the Buddhist view on Liberation. - 108 -

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6. Influences of Vaisesika Terminology: Kundakunda uses the word 'Dhatucatuska' for the four famous elements viz. earth, water, fire and air. 13 In dvadasanupreksa, while enumerating the 84 lac yonis, he uses the expression forfa-UNG-HA--AGCH'.' Here, the word is not used for four elements but for the four kind of one-sensed beings. Otherwise they are known as ekendriyas or sthavaras, still he prefers the word 'Dhatu' which reminds 'Mahabhus of Vaisesika and Saptadhaka of Caraka.' Can we not say that this term occurs to his mind due to his close assocition with the Brahmanic terminology? While describing similarities and dissimilarities in dravyas Umasvati uses the terms' rupi' and 'arupi' but in Pancastikaya, the terms are 'murta' and 'amurta', probably due to the influence of Vaisesika terminology, 15 7. Explaining Jaina terminology in easy words: According to Samkya philosophy, the sentient and insentient world is originated from Prakrti by combination of sattva, raja and tama. The Pancamahabhutas are jada. Jains hold totally different view about four of them. The ekendriya jivas are mentioned as prtvikayika (earth-bodied beings), apkayika (water-bodied beings) etc. Kundakunda explains the difference in prtvikaya and prtvikayika etc. in vers no. 121 of Pancastikaya, very eleborately. He says - 'na hi iMdiyANi jIvA kAyA puNa chappayAra paNNattA / dANaM jIvo tti ya taM parUvaMti // ' "The five senses and the six kinds of bodies mentioned above, these are not the essence of soul. Whatever in the midst of these manifests as consciousness that they call by the name Jiva". These kinds of explanations occur in Pancastikaya at many places. The etymology of the term dravya is given in the 9th verse. 16 Kundakunda is - 109

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aware of the fact that many concepts in Jaina philosophy are naive to the contemporary philosophers, so he tries to paraphrase those terms in easy words by using the colloquial language of that time viz. Saraseni. The concept of Jiva is elaborately explained in verse 30 and 33. Thus Pancastikaya contributes Jaina thought by preparing the necessary background for the ear of khandana-mandana. 8. Application of sevenfold predication to Dravyas: Umasvati presents Jiva-tatva in the second chapter of Tattvartha very systematically. In a very unique way, Kundakunda summaries the characteristics of Jiva, in Pancastikaya. He says that when we apply different viewpoints to look at the Jiva-tatva, it can be described in ten ways (i.e. from one to ten). Interested scholars may refer the concerned duet of verses (verses 71-72) in this matter. While explaining the number 'seven', the commentators say that this term 24779RIEHOT' denotes the seven-fold predication which is applicable to jiva. In the 14th verse of Pancastikaya, dravya is viewed from seven-fold aspects of predication. Pt Dalasukhaji Malvaniya mentions emphathically that the methodology of Syadvada and Saptabhangi used by Kundakunda is followed by the later Jaina logicians. Panditaji opines that the application of syadvada by Kundakunda is found in more developed han that of Umasvati's Tatvartha. One more this is noteworthy that Kundakunda keeps avaktavya bhanga at third place in Pravacanasara (2.23) but at fourth place in Pancastikaya.17 9. Transcendental and Empirical Viewpoints: In each and every work of Kundakunda, he describes Jaina tenents from two major viewpoints, viz. niscaya and vyavahara. In the first chapter tioned in the literature of Kundakunda. Kundakunda sticks to the -- 110 -

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above-mentioned two nayas and argued that the transcendental perspective is superior to the empirical one is assessing the essence of Jaina philosophy. However Svopanjna Bhasya of Tattvartha does not specifically distinguish between transcendental and empirical viewpoint as did Kundakunda. Dr. Nathamalji Tatia has pointed out that the seven standpoints are endorsed in the ancient satkhandagama and Kanayapahuda.18 "Why Kundakunda prefers two fold viewpoints and avoids seven viewpoints?' is a valid subject for further research. It is noteworthy that in the present context of Pancastikaya, Kundakunda mentions vyavahara and niscaya only once and that too in the concluding verse while describing moksamarga. 10. The style of raising doubts and answering: This peculiar style is evidently seen in Virasena's commentary on Satkhndagama. We can locate the seeds of the peculiar style in some of the verses of Pancastikaya. For example, this style is best seen in verses 92 upto 95. Kundakunda uses the word like 'stle Efe' or 'FET-CET' in his reasoning. But the whole reasoning is based on the religious doctrines of Jaina scriptures and not on the inference based on pratyaksa pramana as Naiyayikas do. He says, "If space, in addition to accommodating other thing, conditions their motion and rest, then why do these siddhas, whose tendency to go upwards come to stay at the summit of the world? If space be the condition of motion and rest of life and matter, then there would happen the disappearance of Aloka and the destruction and dissipation of Loka or world.' At the end of the argument Kundakunda says, 'So was the nature of the cosmos revealed by the great Jinas.'

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11. The concept of trasa and stavara as reflected in Pancastikaya: The final form of trasa-sthavara concept is seen in the Dravyanuyoga texts like Behaddravyasamgraha of Nemicandra. He says - puDhavijalateyavAU vaNappadI vivahithAvareiMdI / vigatigacadupaMcakkhA tasajIvA hoMti saMkhAdI // In the finalized form of Jaina doctines, all the five one-sensed beings are sthavaras. But in the sastraparijna-adhyayana of Acaranga, in the 36th adhyayana of Uttaradhyayana (verses 68, 68, 107), in the second adhyaya of Tattvartha (2.12-2.14) and in verse 111 of Pancastikaya, it is mentioned clearly that the earth-bodied, water and plant-bodied beings are immobile, while fire and air-bodied as well as those with two or more senses are mobile beings. The concerned verse of Pancastikaya runs likewise: 'ti tthAvarataNujogA aNilANalakAiyA ya tesu tasA / ' Kundakunda says' "Though there is the rise of stavara-nama-karma in air and fire, mobility is seen in them so these two one-sensed beings are mobile.' Tattvartha-svopajna-bhasya meets this controversy by the division of labdhi-trasa and gati-trasa while Sarvarthasiddhi varient of this sutra includes the fire-bodied and air-bodied as mobile beings.20 It is remarkable that in the manuscript of Pancastikaya used by Prof. A. Chakravartinayanar, the concerned verse is absent. The writer of the manuscript may have feld that the automatic movement of fire and air does not qualify a being as 'mobile'. This term refers to this that are capable of voluntary movement. - 112 -

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12. The position of devotion' and 'charity' in Pancastikaya: In 'Dasabhakti', Kundakunda mentions panca-paramesthi, guru, nirvana, sruta etc. as the adorables. Kundakunda ascertains the position of bhakti in two verses viz. 137 and 166. He says, "The person who has reverence and devotion towards Arahanta etc. will invariably get bondage with punya-karma, hence he can never achive absolute annihilation of karma. 21 Again he says, ' The person who has not grasped the self through all his efforts associated with worship and reverence will only secure the happiness of devas. He qualified + devoction' as prasasta-raga which leads to punya.' In verse 137, the same status is given to pity, love and charity. Thus, in Panncastikaya, Kundakunda designates devotion and charity as 'punyasrava' in the total framework of Jainism. 13. The atheist nature of Jainism: We do not get discussion about the creator God, its nature etc. separately in Pancastikaya. Kundakunda says, "The six dravyas are the constitutive elements of the world. These are uncreated and eternal.22 He adds, "Just as several molecular arrangement in matter is seen in diverse forms though uncaused by alien agency so also the manifestations in the karmic matter occur undertmined by alien cause. "23 Kundakunda states clearly that jivas and karmic materials are bound together strongly. But when the time for their separation comes they fall apart. Due to this aggregation and disintegration, Jiva experiences pleasure and pian.24 Thus Kundakunda has successfully prepared the background for the further Jaina logicians to present their arguments against the existence of God as the creator of universe and a giver of pleasure, pain etc. to beings. -113 -

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14. The usage of the scriptural expressions "janadi-passaoi": The position of Jnana and Darsana is unique in Jaina philosophy. These are the two among the traid of ratnas. These term are used in the words like jnanopayoga-darssanopayaoga; jnanavaraniya-darsana varaniya etc. The verbs are of course jaNa and parasa (paccha or pAsa). These verbs are frequently used in Pancastikaya. Kundakunda says '(tecedor ET) Flufa Gezile' (verse 158). It means the jiva, free from all relations perceives and knows. Again he says, "Perception and understanding of objects are the functions of jiva or consciousness" (verse 122). In verse 163, he uses the verbal foms viz. failurfa and topla. It is noteworthy that in Acaranga (I) we come across the usage of these verbs frequently and in the same context.25 The influence of teminology of scriptures in many other places, can be seen in Pancastikaya because Kundakunda is aware that he is presenting the 'essence of Jinavacana. He is purposefully selected the titles of his works a Pravacanasara, Samayasara etc. 15. Rare usage of examples, analogies and metaphors: Actually this is the distinctive feature of the whole Kundakunda-literature but specially seen in Pancastikaya. The analogy of padmaraga jewel and milk is employed in verse 33 for explaining the characteristic of jiva. He gives examples to explain dharma and adharma in minimum words viz. 'JGY JE HEBTUT' and 'goeila'.26 In verse 146, Kundakunda uses the expression 'fire in the form of meditation' to emphasize the superiority of dhyana over subha and asubha. Barring these scanty instances, Pancastikaya is written in a lucid style without any poetic adornments which is suitable for dravyanuyoga. It is noteworthy that since the focus and purpose of Astapahula is different, it is flooded with examples, analogies and metaphors.27 These type of stylistic differences show the mastery of the writer over language. - 114 -

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Conclusive Remarks It is actually impossible to enumerate the distinctive feature of Pancastikaya, since it is the overflow of spiritual experiences express in lucid style with inborn wisdom. But in nutshell we can say that Pancastikaya is an excellent example of dehali-dipa-nyaya. It illuminates the nature of scriptural concepts of astikayas and dravyas in the perspective of contemporary philosophies and at the same time, it is the whistle-blower of the forthcoming era of logic in the field of Jainism. References 1. 31114 Yo pa ta zofa, p. 281 2. Ceifatra:, Agasa edn. Numbers of verses given in the paper are according to this edition. 3. valsti, verse 2 4. haftahra, verse 173 5. Sakrastava, a part of Sadavasyaka for Sravakas 6. akateteren, verse 1 7. 491era, verse 105 8. 318YES, asfayet verse 19 9. Studies in Jainism, pp. 83-97 10. 79 1212447 COUTFIT, PIRITTIT, 9.665 11. Giaisia 4 4 4 --- Gife4K 44, 3HKI 24H, 28.14 12. Paifeftente, verse 86 13. 3. Halent ergugat Preu ETEI Hutait au TRUTHALUTT 4444EUR 11 491 rehra, verse 78 - 115 -

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14. Nicidara dhAdu-sattaya tarudasa biyaliMdiseyu chaceva / sura niraya tiriya cauro coisa maNuye sadasahastA | bArasANupekkhA, verse 35 - 15. The words murta (mutta) and amurta (amutta) are found in Pancastikaya verse 78,97,99. 16. daviyadi gacchadi tAI tAI sammAnayAI jaM / vinaM bhaNate aNaNabhUdaM tu sattAdo | paMcAstikAya, verse 9 17. pravacanasAra 2.23, paMcAstikAya, verse 14 18. Tattvartha sutra Nathmal Tatia, p. 27 19. dravyasaMgraha, verse 11 20. Tattvartha Sutra, Nathmal Tatia, p. 41 21. arahaMtasiddhacediyapayayaNagaNaNANabhatisaMpaNNI / baMdi puNaM bahuso du so kammakkhayaM kuNadi // - paMcAstikAya, verse 166 22. jIvA puggalakAyA AvAsaM atthikAiyA sesA / amayA atthittamayA kAraNabhUdA hi logasta | paMcAstikAya verse 22 23. paMcAstikAya, verse 66 24. paMcAstikAya verse 67 25. i) viNaitu lobhaM Nikkhamma, esa akamme jANati pAsati / ii) dukkhaM ca jANa aduvAgamessaM toyaM ca pAsa viSkaMdamANaM 26. paMcAstikAya, verse 85,86 27. darzanapAhuDa 7 bodhapAhuDa 1523 bhAvapAhuDa 82,90,95,122,123, 158; mokSapAhuDa 51. AyAro (Ldn.), 1.1.2.37 AyAro (Ldn.), 1.1.3.35 -0-0-0 - 116 -

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14. BARASA ANUPEKHANAM : AN INTRODUCTION -Prof. Padma Shekhar, Mysore Jainism explores the possibility of Man becoming of Jina. The majority of religions in India believe that the life of man is subjected to the courtesy of God. But Jainism evaluates the life based on the Karma theory. The existence, the happenings the good and bad deeds are due to the impact of Karma of the human being. In attaining Moksa the jeeva has to cross all the hurdles of life. In Jainism one can get the mental redness through Achara dharma. The duties of the human being are made known under munidharma and Sravakadharma. The facts of the life are being realized and introduced by them. The mind, which is the basic tool of realization, can think of what is good and what is bad. One can examine his inner self, and can obtain guiding paths through anuprekshas. They are not only guiding principles but importantly, they are basic essentials for mental stability and upward movements. Kundakundacarya was the first, to write on anupreksas. His work 'Barasa anupehnam' was the authentic available resource on them. That is also called in the name 'Dwadasanuprekse. Based on the written document we identify kundakundacarya as the first writer of anupreksas. But in Jainism, there is a great extensive oral tradition Kundakundacarya in his "Samayasara' has stated that, what all he had written, were perceived from Srutakevlis. Therefore, the original details related to the history of anupreksas, one has to associate with the thoughts of Jain tirthankaras and darshanikas. In Anupreksa, there are three word units; Anu + pre + i ks.Which means to ponder, to reflect, topics to think and recollect again and again. - 117

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Kundakundacarya has discussed 12 Anupreksas under 12 subject matters in this gatha: Adduva masaranameya Ttamanna samsara loyamasucittam | Asava samvara nijjara Dhammam bhohi cha chintejjo || They are: Adhruva, Asharn, Ekatva, Anyatva, Samsara, loka, Ashucitva, Asrava, Samvara, Dharma, and Bodhi(durlabanuprekse) Their meaning can be explained in this way: power (Adhikar), status (antastu) beauty (rupa) youthfulness (yavvana) etc are not permanent: they are temporary like rainbow. This fact will be stressed strongly by anityanuprekse. What has been attained, by an individual is due to his punya visesa. Nothing comes to his risk when he becomes helpless except his Atma who is omnipotent. This fact will be confirmed by Asaravananuprekse. Samsara is the unification of Dravya, Ksetra, Kala, and Bhava. Because of this, birth, death, oldage and disease, fear, jeeva will involve in paribhramana. The jiva which travels in caturgati will yield to makartraya, swarthate (selfishness), arisadvarga (affection to love) and passions of indriyas. The samsaranuprekse will enlight on this. Asravas are the prime reasons for the sufferings of jiva. Mithyatva (delusion), avirati (vowless), kasaya (passion and activities of mind are responsible for asravabandha asravanuprekse will explain, how to escape from asrava bandhas one's body is full of all that is impure, rotten and stinking. Therefore, one should detach from body affection and should attach to the one's own Atma. This will be indicated by asucitvanuprekse. Most importantly jiva has and anyatvanuprekse. Ekatvanuprekse is the symbol of being treated one, as all alone always; while being born and while leaving this world. This universal truth will be emphasized by Ekatvanuprekse. If the jiva is aware of the separation of body and soul, then it will turn towards religion. It is the real desire of anyatvanuprekse. (- 118 -

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The prime aim of jiva is to attain Moksa. This has to be achieved through sadhane. If it were to be expected, one has to detach atman from Karma particles. This can be fulfilled by reudering Dharmadhyana and sukladhyana. In this way, samvaranuprekse tries to control causes of asrava. By following 12 types of tapas and various pertinent rules of vratas. Jiva can become pure. Nirjaranuprekse throws light on this. Lokanuprekse is also important in this background. This introduces thenature of loka and existence of jiva. Lokanuprekse assists jiva through its Loka parijnana in all its activity. Bodhi durlabhanuprekse related to Jnana. Human life, is something difficult to secure. To attain better religion, it is something that can be achieved only with difficulty. Even having sraddha it is not that easy to obtain. The bodhidurlabhanuprekse demands the need to understand atman through bheda vijnana. From the point of vies of Dharmanuprekse predominantly stresser on jiva niscayanaya who is not at all a glhidharmi or anagaradharmi. He is totally different. Therefore he must be always in eqnanimous status and should meditale upon perfect soul. If we observe the explanations given the secret of attaining Moksa; and the genuine thoughts of jiva related to it. The present status of human being's life, after liberated and attracted by renunciation (vairagya) signifies the height of its achievement. In the meanwhile it is clear that, this thought is related to svadhyaya on one side and dhyana on the other side. Because, the thought flown will get clarity and stability through Adhyayana and Jnana. Through the increased density of Jnana, jiva becomes introvert, and starts self, communion. Attains detachment from samsara even while -119

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engaged in lively hood. This is what is called dhyanasthiti. Then only Atman can overcome mutability (nasvarate) and demise (marana). This kind of thinking evoken caritryasudhi, which further yields darsanasuddhi, from darsan, Jnana, from Jnana achievement of Moksa is possible. Mind is then like clear water. It will not be afflicted by karma. It only gathers punya. Ultimately it attains the fruition (sarthakate) of birth. Though anuprekses are primarily for the vigelance (jagsti) of munis, they have not limited in their scope. Their purpose is to become universal processes. Then only the possibility of the univercel prosperity can be foreseen. -0-0-0 - 120 -

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15. ETHICAL SIGNIFICANCE OF BHAGAVATI ARADHANA - Prof. Prem Suman Jain, Udaipur Bhagavati Aradhana (Bha..). is one of most valuable ancient work of the Digambar Jaina tradition composed in Sauraseni Prakrit by Acarya Sivaraya or Sivkoti flourished in 22nd Century A.D. The author mainly deales with the nature and types of Aradhana (Practice of Ratnatraya and Tapa) and Samadhimarana (Voluntary Peaceful Death). Bha... is the most complete treatise devoted to the subject of voluntary peaceful death or Samadhimarana?. This work also contains the descriptions of the practices to eliminating the passions (Kasayas), the means of Karmic influx, bondage, stoppage and separations as well as hells miseries and the eternal bliss of final liberation. Though Acarya Sivakoti has divided the subject matter of Bha... in four chapters (i) Samayagdarsana Adhikara, (ii) Samyajnana Adhikara, (iii) Samyagcaritra Adhikar and (iv) Samyaktapa Adhikara, but he deals other relevant main aspects of Jainism also in this work, like significance of Panca Parmesthi, life of Digambar Jain Monks, Six Avasyakas (Indispensable duties), Six Lesyas (Spiritual Glow), service to the Sangha (Vaiyavratya), five great vows, four kinds of meditations and twelve types of reflections (Anupreksas) etc. So Bha... is an encyclopedic ancient Prakrit text of monistic life in Jainism and source of narratives of Jaina literature. The Bha.A. also mentions the names and brief indications those aspirants who embraced voluntary peaceful death by adopting various means. Thus Bhagavati Aradhana presents a rich survey of Jainism, especially with reference to the theory and practice of ascetic life. This is the most complete treatise on the subject of Samadhimarana and Aradhana and it has not left any relevant issue untouched. - 121 -

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The Bhagavati Aradhana is a pretty lengthy big text containing nearly 2170 Prakrit verses among the Aradhana works of Jainism. The popular name of this work is Bhagavati-Aradhana, but the genuine title, according to the author himself, is Aradhana. Bhagavati being only an honorific appellation added by the text to qualify the practice of Aradhana. Prabhachandra and Asadhara have given the name "Mularadhana' to this text to glorify the subject matter of it. It is also said that it looks quite reasonable that the Bhagavati Aradhana in order to be distinguished form letter and smaller Aradhana texts, came to be called by the names Mularadhana and Vaddaradhana, which means big or great Aradhana. The subject matter of the text is in simple and direct style with popular similes and illustrations. Many of the subsequent authors of Jain literature have freely drawn their ideas from Bhagavati Aradhana. We learn about the author of Bhagavati Aradhana form this text itself that the author's name of the Bhagavati Aradhana is 'Sivarya', who qualifies himself as Pani-dal-bhoi, a monk who ate his good in the cavity of his palms. He studied the scripture under Jinanandi, Sarvagupta and Mitranandi and composed this Aradhana text depending upon the work or composition of early Acarayas. Though we do not aware of any epigraphic reference to Sivarya as author of the Bhagavati Aradhana but Sivaraya or Sivakoti has been mentioned as the author of Bhagavati Aradhana by many Jain Acaryas of letter period in their works. The subject matter of the Bhagavati Aradhana is so popular and essential for performing the duties of Jain monks and laymen, which left such an influence on letter-writers of Jaina texts, that they wrote some important commentaries on this important and basic text. Srivijayodaya Tika of Aparajitasuri is an exhaustive commentary on Bha... written in between in the 5th to 10th century A.D. - 122 -

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Bhagavati Aradhana refers many didactic, legendary, edificatory and ascetic tales in its Prakrit gathas, which were the source for later-writers of Kathakosas composed in Prakrit, Sanskrit and Apabhramsa. Sricandra quotes 39 gathas of Bhagavati Aradhana and then gives the stories in his Kahakosu. He picks up only those gathas from Bha... on which the stories are to be illustrated, explains their literal meanings in Sanskrit and then gives short and long tales. The nineteen stories in the Kannada Text Vaddharadhane are developed based on nineteen verses (1539-1557) of the Bhagavati Aradhana of Sivakotyacarya or Sivarya. These 19 verses are from the 35th Adhikara (Chapter) of Bhagavati Aradhana. The author of the Vaddharadhane quotes each Prakrit gatha in the beginning, explains literally it meaning in Kannada and then begins narrating the story. The thirty nine Prakrit gathas quoted by Apabhramsa poet Sricandra and 19 Prakrit gathas quoted by the Kannada author of Vaddharadhane are basis to find out the original Prakrit reading of the verses of Bhagavati Aradhana and these quoted verses may be treated original source of Sauraseni Prakrit language used in the Bha.A. A critical textual edition of the Bha... may be prepared on the basis of these 58 (39+19) Prakrit gathas. There may be some relation of these 58 gathas with that Prakrit commentary, mentioned by Asadhara, but unfortunately not found so far. The thinking of Jaina Tirthankaras and philosophers is beyond the limitations of caste, religion, region and time. They have given us the rules for the welfare and progress of all the living beings. The main problem facing us in this age is that we do not have the right vision of our life. We do not see or understand the wordly things, beings and life style in the way they are. Most of the world's problems are there mainly because of this falseness of our vision. The main contribution of the ancient Prakrit Texts and their writers is that they gave us the right vision to see and understand the world as it is. It is said in the Bhagavati Aradhana that - 123

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The value right faith is much greater than possessing all the treasures of the three worlds. sammattassa ya laMbho, telokkassa ya haveja jo laMbho / sammaiMsaNalaMbho, varaM khu telokkalaM bhAdo // Sammattassa ya lambho, telokkassa ya havejja jo lambho. Sammaddamsanalambho, varam khu telokkalm bhado. - Bha A.741 As is nature of the lotus leaf to remain untouched by water, so does a righteous person remain fully unaffected by passions and sensual pleasures. jaha salileNa Na lippai, kamaliNipattaM shaavpyddiie| taha bhAveNNalippii, kasAya-visaehiM sappuriso // jaha salilena na lippai, Kamalinipaatam sahavapatadie. taha Bhavena na lippai, Kasaya-visaehim sappuriso. - Bha A.154 Ancient Prakrit Texts have prescribed some primary or cardinal qualities of the householder. Such as abstinence from taking meat, fish, eggs and other animal products except milk and milk-products, abstinence from drinking wine and other liquors; refraining from eating honey and other sinful things; and avoidance of indiscriminate and unchecked indulgence in the five sinful activities. Dr. J.P. Jain rightly said that there are some number of rules, known as Marganusari Guna(qualities) advocated for the Jaina householders. These qualities and general rules of personal and social conduct and behaviour are intended to give a person a distinct character and make him or her a good, healthy and law-abiding citizen a human individual, a lovable fellow being in short, a true gentleman or gentlewoman. There are six daily duties also prescribed for a Jaina householder, which comprises selfless service of humanity. - 124 -

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Whatever ethical doctrines are prescribed in the Bhagayati-Aradhana the principle of Non-Violence 'Ahimsa' is the keynote of that ethical system. Janism recognises the sanctity of all life. The aim of the Jaina way of life is to bring peace on earth and goodwill amongst mankind. So the Bhagavati Aradhana and other ancient Prakrit Texts advocate the significance of the principle of Ahimsa. It is said that it is the essential trait of wise man that he does not kill any living being, certainly one has to understand just two principles namely non-violence and equality of all living beings Eyam Khu nanino saram jam na himsai kamcana | Ahimsasamayam ceva etavante Vijaniya ll - Samasuttam, Gatha 147 The Bhagavati Aradhana describes in detail the concept of the emotions and their effects on the human life. There are strong emotions or passions(Kasayas) and mild emotions or quasi-passions (No-Kasaya). The principal Kasayas are four in number:- Anger(Krodha), Pride(Mana), Deceitfulness (Maya) and Greed or Avarice (Lobha). The Bhagavati-Aradhana tells us that we should not involved in these Kasayas as these are very harmful in the path of our religious and social life. These Kasayas are like vices that increase one's sins and result in bad destinies, Those who desire own benefit must vomit them out of their psyches. A person who is under the influence of anger turns pale and loses all charm. He becomes restless and even under favourable circumstances, he feels uneasy and trembles as though he is under the influence of an evil spirit. rosAiTTo NIlo hadappabho aradiaggisaMsatto / sIde vi NivAijadi vevadi ya gahovasiTTho vA // rosaitthonilo hadaooabho aradiaggisamsatto, side vi nivaijjadi vevadi ya gahovasittho va. - 125 - - Bha, Ara. 1360

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Anger is favourable to the enemy. It brings grief to the person (who gets angery) and to his relatives. Anger results in the defeat of the person (who in angry) and ultimately results in his destruction. kodho sattuguNakaro, NIyANaM appaNo maNNukaro / paribhavakaro savAse, roso NAsedi NaramavasaM // kodho sattugunakaro, niyanam appano ya maNGNGkujari. paribhavakaro savase, roso nasedi naramavasam, - Bha, Ara. 1365 Just as a spark of fire destroys the year-long accumulated stock of grains so also the fire of anger destroys all the divine qualities of a monk. jadha karisayassa dhaNNaM variseNa samajjidaM khalaM pattaM / Dahadi phuliMgo ditto tadha kohaggI samaNasAraM // jadha karisayassa dhannam varusena samajjidas. khalam pattam. dahadi phulimgo ditto tadha kohaggi samanasaram. - Bha, Ara. 1367 There is also one another trouble with this world that we are unable to objectively decide our necessities. In this world neither one is happy with one's possessions nor any country is satisfied with it's immense wealth. Economical inequality and undue hoarding and accumulation of essential goods in few hands is distrupting for the social life. It is due to this greed that one man exploits the other and enclave him. The society suffers for this greediness of some of its members. So it is said in Jaina texts that one must keep only that much that is essential and give away the rest to the society at large. This essentially is the attitude of non-possessive spirit of charity. In the Bhagavati Aradhana is also said that peace, harmony and tension free life can be gained through non-possessiveness, contentment and restaint only. We should control on our greed passion. Under the influence of greed, a man fails to discriminate between good and evil and indulges in theft without caring even for the his own life. - 126 -

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at you chi ori or ferafa | to appaNo vi maraNaM agaNito coriyaM kuNai // lobhe ya badhdide puna kajjaam naro na cimtedi. to appano vi maranam aganimto coriyam kunnai -Bha. A. 857 The renunciation of attachment is useful for controlling the sense-organs as the mahot's hook is useful for controlling an elephant and the moat for protecting a town. Certainly, for the conquest of the senses, freedom from all possessions is a must. gaMthaccAo iMdiya NivAraNe, aMkuso va hatthissa / rasa khAiyA viya, iMdiya guttI aMsagaMta // gamthaccao imdiya nivarane, amkuso va hatthissa. nayarassa khariya vi ya, imdiyagutti asamgattam - Bha, Ara. 1169 The frenzied elephant is controlled and held captive by the chains, so also the unstable mind is controlled and held captive by the chains of knowledge. AraNNavo vi matto hatthI NiyamijjadevarattAe / jaha taha niyamijjadiso NANavarattAe maNahatthI // arannavao vi matto hatthi niyamijjade varattae. jaha taha niyamijjadi so nanavarattae manahathi. Bha, Ara. 1169 Only when the mind is under control, can attachment and aversion, which are the cause of worldly sufferings, be destroyed. jaya vAridatte savve saMsArakArayA dosA / NAsaMti rAgadosAdiyA hu sajjo maNussassa // Jahmi ya Varidamette savve samsarakaraya dosa. nasamti ragadosadiya hu sajjo manussassa. 127 - Bha, Ara. 138

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It is said in the Prakrit Texts that anger destroys love, pride destroys modesty, deceit destroys friendship and greed is destructive of everything so wiseman ought to put an end to anger through calmness, pride by modesty, deceit by straight forwardness and greed by contentment. The modesty can give every thing. It is said in the Bhagavati Aradhana that A person who is not proud is dear to all. Such a person alone acquires knowledge, fame and fortune and meets with success at every step. sayaNassa jaNassa pio Naro amANI sadA havadi loe / NAnaM jasaM ca atthaM labhadi sakajaM da sAhedi // sauanassa janasa pio, nari amani sada havadi loe. nanam jasam ca attham, labhadi sakajjam ca sahedi. - Bha, Ara. 1379 He truly commands respect who is always cautious not to insult others. A person who merely boasts but has no virtues cannot command respect. jo avamANakaraNaM, dosaM pariharai NiccamAutto / so NAma hodi mANi, Na du guNacatteNa mANeNa // jo avamanakaranam, dosam pariharai niccamautto. so, nama hodi mani, na du gunacattena manena. -Bha. A. 1429 A person who is proud is disliked by all. He definitely confronts conflicts, enmity, fear, grief and disrespect in this world and next. mANI visso savvassa, hodi kalaha-bhaya-vera dukkhaanni| pAvadi mANi NiyadaM, iha-paraloe ya avamANaM // mani visso savvassa, hodi kalaha-bhaya-vera-dukkhani. pavadi mani niyadr, iha-paraloe ya avamana -Bha. A. 1377 It is said in the Dasavaikalikasutra(8.37), the Prakrit text, that anger, pride deceit and greet are the four powerful enemies which stimulate sinful deeds. One who desires the welfare of his self should renounce these four - 128 -

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flows. These passions are both the causes and results of Karmas. They are the 'doors' by which Karma enters and binds the soul. These result in individual and collective violence in thought, word and deed. They are the deadliest enemies of man and cause tensions and strifes in society. So we should free from the clutches of these four passions. Our mind should be constantly engaged in right reflections and kept away from civil thoughts. Our mind should be trained to make use of the senses, body, wealth etc. for the welfare of the self and humanity. It is said in the Bhagavati Aradhana that only when the mind is under control, can attachment and a version, which are the cause of worldly suffering be destroyed (Gatha, 138). Thus this Prakrit texts has explained in detail that absolute adherence to one sided viewpoint gives rise to conflicts and dicord whereas non-absolutist thinking promotes friendship, unity and harmony. Anekantavada makes our thinking flawless and clear. It is the key of our character. A non-violent lifestyle is non-exploitative and it does not result in unnecessary accumulation and the life becomes non-possessive. By gaining such vision of equality in all living beings, simplicity, humility, kindness and generosity man can understand the life's true aim and way of the service of humanity. The ancient Prakrit Text, like the Bhagavati Aradhana of Shivarya, is deeper than the deepest ocean in innumerable divine pearls of human values are hidden. It is a great store-house of golden words. It is important not only for the inspiration it gives to tread of the path of righteousness and spirituality but also for the massage it gives for the harmonious development of family and social life. The moral and ethical values of this Prakrit text lay a strong foundation for a peaceful and humanitarian world. - 129

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References 1. a) Premi Nathuram : Jain Sahitya aur Itihasa, Hindi Grantha Ratnakar, Bombay. 1956. 2. 3. b) Jain P.S.: (Ed.) Bhagawati Aradhana - Pariseelana, Bhagawana Rsabhdev, Granthamala, Sangaber, Jaipur, 2006, 4. Baya, D.S. Death with Equanimity: The Pursuit of Immortality, Prakrit Bharti Academy Jaipur, 2007 page, 180-181 See for detail - Tukol, T.K.; Sallekhana is not Suicide, L.D. Institute of Indology, Ahmedabad 1976. Jain P.S. Article - | Bhagawati Aradhana Ki Pandulipiyan- Pub, In Bhagawati Aradhana-Pariseelana, Bhagawana Rsabhadeva Granthamala, Sangaber, Jaipur, 2006, page 38-65 5. See, Velankar, Jinarantakosa, B.O.R.I. Pune, 1994, word Aradhana. 6. Bhagavati Aradhana 1-10, Samayasara 301-5, Maranasamadhi 27,41,317 etc. and Aradhanasara-18 7. Bhagawati Aradhana, Gatha, 2165-66 8. Introduction Bruhat Khathakosa, p. 57-58 9. See for detail - Vaddaradhane: Samagra Adhyayana by Prof. Hampa, Bangalore, 2002. 10. a) Khadbadi B.K.: Vaddaradhane- A Study, Karnataka University, Dharwad, 1969 b) Upadhye's papers, Mysore 1983, p.47-57 11. Jain, J.P; Religion and culture of the Jainas, Bhartiya Jnanapeetha, New Delhi, 1983, p,85. 12. Jain, Dulichand, Pearls of Jainism. -0-0-0 130

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16. KASAYAPAHUDA OF GUNADHARA - Prof. Shubhachandra, Mysore Acarya Gunadhara's name appears in the first place among the Srutadhara acaryas. Both Gunadhara and Dharasena are known to be the establishers of Digambara Jain Canon. It is said that Gunadhara was more knowledgeable compared to Dharasena.' Gunadhara had aquired, from the tradition, the tradition, the knowledge of Pejja-dosa-pahudas not only the knowledge of Pejjadosa-pahuna, Gunadhara had, but also he had the knowledge of Maha-Kamma-Payadi. Justification to this is available in Kasayapahuda. Separate chapters are available for Bandha, Sankramana, udaya and udirana in Kasaya-pahuda. These chapters are related to 6th, 12th and 10th chapters of 24 anuyoga-dvaras of maha-kamma-payani pahuna respectively. One anuyogadvara called alpa-bahutva of maha-kamma-payani is spread in all over adhikara chapter of Kasaya-pahuda. That means, Gunadhara was the knower of maha-kamma-payani and pejja-dosa-pahuda. But by the study of Dhavala, the commentary on satkhandagama we do not come to know that Dharasena had the knowledge of pejja-dosa-pahuda. Therefore Gunadhara is considered as the first acarya who reduced the agama in the written form in the Digambara Tradition. Dharasena-acarya did not write any book. But Gunadhara-acarya has written Kasaya-pahuda. We come to know from the invocatory verse of Jaya-dhavala that Gunadhara has explained the work Kasaya-pahuda through gathas. jeNiha kasAyapAhuDamaNeyaNajjamujjalaM aNaMtatthaM / gAhAhi vivariya taM guNahara bhaDArayaM vaMde // 6 // After this invocation, Virasena writes like this: Gunadhara-pahuna which is the third of the 20 pahudas which is the 10th of the 12 vastu adhikaras of Jnana-pravada which is the fifth of the 14 Purvas. - 131

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According to the statement of Virasena, Gunadhara is in the line of tradition of the purva-vida, he was not in the traditional line of purva-vidas. One more noticeable thing is that when compared to Dharasena, Gunadhara had the complete knowledge of his subject. Gunadhara was in the period when the partial knowledge the purvas had not declined. But during the time of Dharasena knowledge of the agamas were declining. Therefore Gunadhara is earlier to Dharasena. The gathas of Kasaya-pahuda contain the complete meaning essence of pejjadosa-pahuna. Gunadhara-acarya had kept the wide subject of Kasayapahuda-16,000 pada-pramana was the size of it - is a nutshell in 180 basic gathas. Attachment is the meaning of 'Pejja'- Kasaya-pahuda- the other name of this work is 'Pejja-dosa-pahuna- deals with attachment and hatredness. Proficiency of passions like anger and others and the distinctive features a prakrti, srsti, Anubhaga and pradena bandha the nature of, duration of, fruition of and quantity of bondage is the main subject matter of this work. Gunadhara-acarya has handled this important and wide subject is a very concise from and made the beginning of tradition sutra-aphonism-style. The author himself calls the gathas as 'Sutta-gaha'. gAhAsade asIde atthe paNNarasadA vihattammi / vacchAmi suttagAhA jai gAhA jammi atthammi ||3 // - ( kasAyapAhuDa, gAhA, 3) From this gaha it is very clear that the style of 'Kasaya-pahuda is m style. The question is that, can these gathas be called sutragatha or not. After careful examination, it is understood that the gathas of Kanaya-pahuna have all the characteristic of Sutra-style. Acarya Virasena in his 'Jaya-dhavala' the commentary on 'Kasayapahuda' has given the characteristics of Sutra-style from the agama point of view like this: -132

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suttaM gaNaharakahiyaM taheva patteyabuddhakahiyaM ca / chalatun tai arftachyrochas a 11-(52EAM,4HCUE, .843) What is told by Gunadhara, by Pratyekabuddha, by srutakevali and by Abhimna-dasa-purvi in sutra. The question here is that, Gunadhara is not a Ganadhara, not a pratyekabuddha, not a srutakevali and not a abhinna-dasa-purvi. In the light of the above said conditions for sutra, how can we consider the gahas of Kasayapahuda as 'sutra'? While answering this question Acarya Virasena says that though technically these gathas are not sutras, but from the point of style all the gathas are sutras 'fe UITET UTSTZIT "MEITT UT TU U 499ge gachafe-37fHuurGruyere guNahara bhaDArayassa abhAvAdo; Na, Niddosa appakakhara saheu - pamANehi sutteNa sarisattamatthi tti sutttuvlNbhaado|' That means, the gathas of Gunadhara-Battaraka are faultless (nirdona), having minimum number of letters (alpaksara) and they are with reason (sahetuka). Therefore they are equal to sutras. The actual meaning of sutra is 'bija-pada' (root word). What ever comes out from the mouth of Tirthankara as Bija-pada is called sutra and the knowledge comes through these sutras are known as "Sutra-sama' (equal to sutra). There are fifteen chapters in Kasaya-pahuda. The names of these chapters are as follows: 1. Praksti-vibhakti-adhikara (chapter on the nature or species of Karma) 2. Sthiti-vibhakti-adhikara (chapter on the duration of karma) 3. Anubhaga-vibhakti-adhikara (chapter on the fruition of karma) 4. Pradesa-vibhakti-adhikara (chapter on the quantity of space of karma) 5. Bandha-adhikara (chapter on the bondage of karma) 6. Vedaka-adhikara (chapter on the feeling producing karma) 7. Upayog-adhikara (chapter on consciousness or the karmic energy or the caitanya of atma effect of krodha, mana, maya-lobha on atma) - 133 -

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8. Catusthan Adhikara (chapter on Kasaya) 9. Vyanjana-adhikara (chapter on Indistintiveness. Alternative words (aufgaret yteca ) for krodha, mana, maya and lobha are discussed). 10. Darsana-mohopasamana-adhikara (chapter on destruction of faith deluding) 11. Darsana-moha-ksapana-adhikara (chapter on destruction of faith deluding). 12. Samyamasamyama-labdhi-adhikara (chapter on the attainment re straint cum non-restraint i.e. desa-samyama or desa-vrata). 13. Samyama-labdhi-adhikara (chapter on the attainment of restraint). 14. Caritra-mohopsamana-adhikara (chapter on the subsidence of conduct deluding karma) 15. Caritra-moha-ksapana-adhikara (chapter on the destruct of conduct deluding karma) Though Gunadhara and his Kasaya-pahuda is erlier to Dharasena, kasaya-pahuda is always referred as 'dvitiya-agama' in the traditional history of Digambara Jaina agama literature. Why it is so? The answer is definitely very simple. The word 'dvitiya-agama' is used because of its source. Digambara agamas have their source in the 'purva literature. Satkhandagama is based on Agrayaniya, the second purva, where as Kasayapahuda is based on Jnana-pravada, the fifth purva. Kasaya-pahuda elaborately gives the knowledge of Kasayas and the means to win those kasyas to get liberated. Hence the work of Acarya Gunadhara has a significant place in the history of Jaina philosophy in particular and in the history of Karma philosophy in general. -0-0-0 - 134 -

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17. UNIVERSAL VALUES IN SAMAN-SUTTAM - Dr. Geeta Mehta Introduction: On the eve of 25h century of Nirvana of Lord Mahavira, with the inspiration of saint Vinobaji an unanimous work called Saman-Suttam was published. Samana Suttam has been compiled of the sutras from Digambara and Swetambar Agamas. The sutras are arranged subject wise. The book has been divided into four parts. The four parts of the book1. Source of Illumination: It explains the nature of Karma, Samsar and Atman. It deals with Spiritual aspects. 2. Path of Liberation:- It explains conduct, vows, self-control, asceti cism and vision. It deals with the ethical aspect. 3. Metaphysics:- This part deals with metaphysical considerations. 4. Theory of Relativity:- It explains Syadvada and Anekantavada. This part deals with Epistemological and Ontological aspects. Among these four parts, I have to focus on first and second part which deals with Ethical aspect. The universal values of Jain Religion are the universal values of SamanSuttam because Saman-Suttam is the quint essence of Jain Religion. The tradition of Jainism, from the point of view of its principles both on conduct and thought, goes very deep beyond comprehension. The aim of ethical observances: The main aim of the Jaina religion is attainment of complete conquest of attachment and realization. This victory over attachment becomes possible by a harmonious accomplishment of three jewels of Right faith, -135 -

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Right knowledge and Right conduct. The primary or the basic teaching of Jainism is that right knowledge should be acquired by looking at mundane things with an eye of right faith and that the same should be translated into conduct in life. The famous Jaina text Uttradhyaayana Sutra mentions "The root of all sufferings physical as well as mental, of every body is attachment, which is the root cause of mental tension. Only a detached attitude towards the objects of worldly enjoyment can free mankind from mental tension." The second part of Saman-Suttam discusses the Path of liberation i.e. precepts on three jewels, the Ratna-traya. The Jaina religion, the dharma, which leads to release from the cycle of transmigration, is made up of right belief (samyagdrsti, samyaktva),right knowledge (samyag-jnana),and right conduct (samyak -cartia), which together constitute the ratna-traya or three gems', sometimes also called the guna-traya. According to Lord Mahavira, to remain attached to sensuous objects is to remain in the whirl. Ahimsa as an Universal value: Path to liberation gives precepts on the two paths of religion. It is discussed in the Sutras 296 to 300. They are Mahavratas and Anuvratas. Anuvratas /Small Vows are discussed in Sutra no.301-305 They are five as follows: i. Ahimsa - Abstenance from Violence Satya - Abstenance from False Speech iii Asteya - Abstenance from theft. iv Brahmacarya - Abstenance from sexuality or unchasity V Aparigraha - Abstenance from greed for worldly possession. Precepts on the Non-violence is discussed in part 1,Sutra 147-159. - 136 -

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If Jainism has been described as an 'Ethical system par excellence', ahimsa is the keynote of its system. It is also a feature which is often misunderstood, or not fully understood and duly appreciated. Nevertheless, this principle of ahimsa, non-violence or non-injury to life, is one of extreme importance and universal application, And, it pervades the entire length and breadth of the Jaina code of right conduct, the path. The chief criterion with which to judge the rightness and goodness of a thought, word or deed is ahimsa. In his very first preaching, Mahavir showed that Ahimsa, truth, celibacy, non-stealing and non-possession are the means for liberation and for one's own full development one should practice the ten principles like forgiveness, humility, simplicity, piety, self-control, contentment, truth, asceticism, celibacy and non-possession. Jainism placed strong emphasis on the ethical principle of Ahimsa and also discussed it in epistemology and metaphysics. "Ahimsa' is the central core of Jain Philosophy and Religion. Why Ahimsa an Universal Value? In fact, ahimsa is equated with dharma, the nature of the soul. It is essential, intrinsic and inherent nature of the pure soul, which is the state of perfect equilibrium, unruffled peace, complete equanimity and imperishable attitude, devoid of ignorance, delusion and all sense of attachment of a person. No wonder that ahimsa has been described by the ancient Jaina sages as parama Brahma, the very God. Jainas speak of violence as unnatural and non-violence as natural because if you throw somebody into the river, you expect a cause for it but if you save a man from drowning into river, we do not require an explanation for it. It means that love or non-violence is inherent in the nature of things. Nonviolence is as natural as fragrance to a flower. Flower - 137 -

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emitting fragrance is not conditional. It is unconditional and unmindful of its surroundings. Nonviolence is intrinsic nature of man. It is, therefore, not dependent even on the existence of the other, not to speak of the action of the others. According to Jainism, true religion is that which sustains all species of life and helps to maintain harmonious relationship among them. In Acarangasutra it is said, "Ahimsa is pure and eternal Dharma". Non-Violence is not restricted to human beings but it embraces the whole Universe. Non-Violence is observed by Jaina seers as a rule of nature. Mahavir preached that everyone desires happiness. "All desire happiness none desires for misery. All desire to love, no one desires death. As we love happiness and not misery so does everyone hence one should not kill any one." Vayam puna evam aaeksamo -paruvemo- -pana sbbejiva sabbe pana sabbe satta na hantava na ujjaveyay vva na pariyavayavva3 SamanSuttam preaches Ahimsa on the basis of Gatha No.151 and 152. Jivavaho appavaho,jivadaya appano daya hoi. Ta savvajivahimsa,paricatta attakamehim.4 (Killing a living being is killing one's own self; showing compession to a living being is showing compassion to oneself. He who desires his own good, should avoid causing any harm to a living being.) Tumam si nama sa ceva,jam hantavvam ti mannasi. Tumma si nama sa ceva, jam ajjaveyavvam ti mannasis (The being whom you want to kill is the very same as you are yourself, the being whom you want to be kept under obedience is the very same as you yourself.) - 138 -

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Anekantavada: Ahimsa is the origin (root) of Jaina practice. Ahimsa can not be practiced without Anekanta point of view. Violence or non-violence depends upon the attitude of the doer. If outward violence is considered as violence, then nobody is non-violent in this world because there is life everywhere in the world and it is destroyed continuously. Therefore one who is alert, has Ahimsa in his nature and one who is not alert, has himsa in his nature. This analysis is not possible without Anekanta viewpoint. Therefore one who has Anekanta viewpoint is a balanced vision (samyak-drusti) person and one who has balance vision can only be balanced - knowledge (samyakjnani) and balanced character (samyak-caritra). Thus Jainism gives prime importance to balanced equipoise view (samyag-drusti) That is the base of liberation. Anekantavada is discussed in saman-suttam from Gathas 660-673. Though it is elaborated with precepts on valid knowledge (PramanaSutra 674-689, precepts on view point (Naya Sutra) Gathas 690713, precepts on Theory of Relativity and seven predictions (Syadvada and saptabhangi Sutra)precepts on reconciliation or synthesis(Samanavaya Sutra) Gathas 722-736 and precepts on installation (Nikesepa Sutra) Gathas 737-744. Anekantavada is explained with the example of everyday in GathaNo.670 Piu-putta-nattu-bhavvaya-bhaunam egapurisa-sambandho Na ya so egassa piya, tti sesayanam piya hoi One and the same person assumes the relationship of father, son, grandson, nephew and brother, but he is the father of one whose he is and not of the rest (So is the case with all the things) - 139 -

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It is explained in abstract manner in Gatha No. 671. Saviyappa-niviyappam iya, purisam jo bhanejja aviyappam. Saviyappameva va nicchaena na sa nicchao samae." (A person is certainly possessed of alternative relationships and also assumes single relationship. But one exclusively ascribe to this person either the former or the latter relationship,is certainly not well-versed in the scriptures. Aparigraha Classical philosophers have considered conduct as the part of proper knowledge and wisdom Samyak Darshan Jnana Charitryani Mokshamargah Therefore all moral codes are interwoven with Dharma (Religion) which upholds the society. Jainism as well as Hinduism and Buddism count for five Mahavratas which one should observe for harmony with body, society and cosmos .Aparigraha is one of them. It has much more importance according to Jainism, in the life of Sravakas as well as of Sramanas. Sramanas have to follow it as a Mahavrata to the most and Sravakas as Anuvrata, minimum rule. Aparigraha leads one to limiting or restraining Desires (iccha parimana): Aparigraha is defined in Jain Agamas as parigrah parimana, one has to limit one's possessions. Material objects and services are limited, but consumers are too many. The desires too keep growing. As a solution to this problem, Lord Mahavira propounded the principle of limiting or restraining one's desires. Absence of individual ownership gives rise to conflicts; unlimited ownerships runs counter to the creation of a harmonious socio-political world order, so there is middle way- limit your desires; - 140 -

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limit individual ownership and acquisition, limit individual consumption. Precepts on non-possessiveness (Aparigraha sutra) in Saman-Suttam are in first part Gathas 140-146. The experiment in limiting desires is a challenge to the present economic competitiveness and a rat race of development. The experiment is difficult but in it alone lies the solution to the problem. (a)Sharing, parting with a part of the resources one acquires; (b)Building a healthy society. Aparigraha for Sravakas: The consciousness of the purity of means awakens in a person faith in non-violence and limitation of desires. He refrains from earning a living by dishonest means. He undertakes only such activities as do not tarnish either his character or that of society. The result of right means of livelihood are (a) clean business and integrity; (b) refraining from trade band business related to intoxicants, meat, fish, eggs and similar items undesirable for eating; (c) refraining from activities that involve smuggling; (d) refraining from trading in arms; (e) refraining from felling trees and destroying forests. External Parigraha Kshetra vastu hiranya suvarna dhana dhanya dasee dasa Kupya pramanti kramaha' There are nine External parigraha-necessities-for the Sravaka. - 141 -

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Wealth, grain, farm, House, Gold, Silver, House hold items, Servants, Animals-even these are to be limited. If we go on accumulating them we succumb to passions, greed, selfishness, ego and cruelty. One has to take vow to limit the accumulation of above mentioned things. For the development of Aparigraha in society one should have the inclination towards tolerance and Samanvaya. Non-Violence and nonpossession are inter connected with each other. When one becomes violent and egoist, one feels like accumulating things and when one accumulates the things, it leads to develop violence. This is how the vicious circle goes on. Internal Parigraha: The seeds of parigraha are vilonece, lies, stealing, convetousness, attachment, jealousy, mauceha parigra ho vutau - Unawareness is Parigraha 10 Iccha parigraha Desire is Parigraha, Greed is Parigraha, Attachment is Parigraha, Sensuousness is Parigraha, Ownership of other things is Parigraha. The result of Parigraha is a commitment of sins and it develops worldly cycle, it results in violence, it is the origin of anger, attachment, greed. Natthi ariso paso padibandho atthi savvajeevanam savvaloe 111 Jineswar has said, "there is no other greater bondage than parigraha in the whole world". The internal and external parigraha are discussed in gathas 143-144 of Samana-Suttam. Gatha No.145 narrates the person who is free from possessiveness. Savvaganthavimukko, subhuo pasnatacitto a Jam pavai muttisuham,na cakkavatti vi tam lahai. 12 - 142 -

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(One who is completely free from all possessiveness, is calm and serene in his mind and attains bliss of emancipation which even an emperor cannot obtain.) The cause and the Result of the Parigraha: We go after Parigraha due to ignorance of, who I am, i.e. Indiscrimination and ego.Discrimination and the discriminating knowledge of the attachment and the detachment and the daily Practice of Devotion will direct one to Aparigraha. Dedication and Determination helps one to be devoid of foibles of Possessiveness for the social upliftment. Aparigrhe sthairye janmakathanta sambodhah | 13 In the stability in non-acquisition (the power flows of) understanding the awakening of the law of births. The stickiest of the possessiveness, Parigraha is this body and selfness or longing for it. If complete nonpossessiveness is stabilized in the yogin, he gets the corresponding power of knowing the mystery of this and other births. 14 The Virtues of Aparigraha: By limiting the possessions (Parigraha) 1. One becomes non-greedy and egoless. 2. One is contented and becomes compassionate and generous. 3. One does not resort to corruption and tax evasion. 4. One experiences Bliss and happiness. 5. One pays enough to the servants to make them self-reliant. 6. One gives scholarships to the students so that they can advance in their studies. 7. One co-operates in the service of hospitals and veterinary colleges. 8. One gives relief to the patients with medicine, fruits etc. 9. One helps people with food, clothing and shelter. - 143 -

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By fulfilling this vow, one is helpful to the society because 1. One does not take part in any immoral activity. He controls the wastage of food and water both at home and in society. He does not succumb to the unnecessary social expenses. He does not succumb to throwaway culture and utilizes every article unto its last. 2. 3. 4. Aparigraha develops dutifulness, self-control, friendship, compassion, patience, tolerance etc. Self- control is very necessary in one's life, otherwise the life becomes directionless. Life without self-control is like horse without reins which may run amock. Hinsanrutsteya brahma parigrahebhyoh virativrutam 15 Aparigraha has an immense capacity to change one's life and through that society. All 24 Tirthankars have left their wealth and Kingdom to acquire higher Kingdom of self and Nirvana (Salvation). Aparigraha in wider sense: Aparigraha can be interpreted in multifaceted ways-while performing three obligations - preserving nature,(yajna) conserving energy and thus maintaining cosmic balance, giving to others (dana) and thus maintaining social balance, living austerity (Tapas) and thus maintaining bodily balance. Sarva mangal mangalyam sarvakalyankarakam | Pradhanam sarvagunanama Aparigraha sasanam || Aparigraha directs us to 'Simple living and high thinking. 'Aparigraha leads one to the life style which is Satyam (Truthful), Shivam (brings about all round-welfare) and Sundaram (beautiful). Observing Aparigraha one is led to a progressive simplification of one's own life. 144

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Perfect fulfillment of the ideal of non-possession requires that man should live like the birds, have no roof over his head, no clothing and no stock of food for the morrow. He will indeed need his daily bread, but it will be God's business, and not his to provide it, only very few can reach this ideal. Aparigraha and Ahimsa: Aparigraha and Ahimsa may be said to be the two sides of the same coin. Both together lead us to social welfare and world- peace. The results of a non-violent and non-possessive lifestyle are: (a) The development of sensitivity: (b) Control of ecological pollution; (c) Continual growth of friendship with living beings. Even Mahatma Gandhi commenting on modern Civilization has said that it is a nine days wonders! Civilization, in the real sense of the term, consists not in the multiplication, but in the deliberate and voluntary reduction of wants. This alone promotes real happiness and contentment, and increases the capacity for service. 16 The attitude of Aparigraha is that of protecting each other, enjoying the things together, endeavouring together, not envying other, becoming radiant together thus leading to social welfare and peace. Sahanavavtu sahanaubhunaktu sahavirayam karavava hai | Tejaswinavadhitamastu ma vivdvisava hai || The conflicts between individual and society, society and nation, between the nation and another nation arise from selfishness. Non-possession develops compassion, co-operation, co-existence, contentment and tolerance. Non-possession and non-violence together in practice as well as Anekantavada in thinking will bring world peace. - 145 -

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Are Jain Values Universal logically? Prof. W.J. Johnson raises the question in his research papers 'Are Jaina Ethics really universal?' writes, the Jaina ethics, rather than being universal, is in fact particularistic, in the sense that not just different ethical standards apply to ascetics on the one hand, and laity on the other, and they do so precisely because ascetics and laity belong to different groups or categories'17 The values are universal in compassion to the Brahmanical value of svadharma where the values are defined somewhat differently in each case as per their caste. Prof. W.J. Johnson says that similarly 'What is regarded as ahimsa, in terms of its soteriological consequences, depends in effect on who are you (lay person or ascetic) rather than on the absolute quality of the action. In practice or even pragmatic terms, ahimsa is therefore a particularistic rather than a universal ethics .It resembles svadharma, differing only in so far as it is relative to mode of life rather than particular birth'18 Johnson further observes, 'When we look at the expected results- the effects,karmically and sotoriologically, of the different kinds of behavior undertaken by ascetics on the one hand and laity on the other --the most striking thing is that they are not so different as the behanouir itself. Indeed, the expected results as we shall see,tend to converage. This suggests that perhaps the difference is actually one of kind rather than quality or intensity." Then Johnson proposes that in the Jain case, there are essentially two soteriological paths both subscribing to the same general view of the universe, both striving for similar ends, but in practice applying two parallel ethical codes which are particular to the individual's status as either a monk or a lay person. - 146

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As Padmanabha Jaini points out: 'Jaina teachers have drawn a distinction between injurious activities which are totally forbidden and those which may be tolerated within strict guidelines. The first of these categories is designated as samkalpaja -himsa, and includes all deeds involving intentional, premeditated violence .Such deeds are contrasted with those of the arambhaja-himsa variety, which either occur accidentally or may result from the performance of an 'acceptable occupation'. Again Somadava makes a distinction in his Upasaka dhyana between laukika (worldly) and parlaukika (other worldly) dharma. These are two kinds of dharma available to the householders. The second example is provided by Bhandrankar Vijay (1903-1980), characterized by John Cort (1995:601) as 'one of the most highly revered of all Svetambara Murtipujaka monks of this century (i.e. the 20th). This is taken from passages in his writings in which he 'responds to the questions of an imaginary interlocutor concerning the suitability of worshiping images of Jinas with physical offerings' (Cort 1995:601). The potential problems, of course, is that 'worship involving physical objects also involves an element of harm (himsa)to living beings, and therefore runs counter to the central Jain ethical principle of non-harm(ahimsa) to all living beings' (Cort 1995:601). The monk says: 'Devotion of God [by which he means the Jinas or Tirthankars] destroys both separation from oneself and contact with harmful karama....'(Cort 1995:602). The question is then asked: 'If a householder performs only spiritual(bhava)worship[i.e. inner worship or contemplation], and not physical (dravya) worship, then will it work or not?' (Inner worship is the only kind of worship the monks and nuns are permitted-physical worship being inherently too violent.)The monk replies that inner worship will not work because a householder's mind requires the stability of an external support. He goes on to say: 'Not only that, all his 147

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[i.e the householder's] other activities involve physical matter and are successful, so his mind is satisfied in the realm of religion by physical things. In reply to his own question about the way in which worship benefits the soul, answers: "From worship of God an auspicious karmic sentiment arise in the soul .At the time of worshiping God, the worshiper becomes humble, and sings praises of God, from which a sentiment of gratefulness becomes evident. From this gratefulness knowledge-obscuring and other karmas are destroyed, and the soul gradually advances on the path to liberation' (Cort 1995:606)In terms of the standard Jaina theory of karma, presented in the early monastic texts and elsewhere, there is something extraordinary about this statement-namely, the idea that auspicious karma actually destroys other kinds of karma. Bhandrankar Vijay likens the householder to a thirsty traveler digging in a dry river bed, who becomes indifferent to the exertion involved because of the hope of finding water. Eventually, when he discovers it he forgets about the exertion altogether. The monk concludes: 'In the same way, there is a small amount of injury done to living creatures in the worship of God, but in the auspicious perseverance of devotion to God, that violence is the cause of great gain 20 This seems to be the tacit acknowledgement of a particularistic ethic of ahimsa. In other words, the ethical means by which you attain the same soteriological effect (destruction of karma) differs in accordance with your status (ascetic or lay); such a means is not,therefore,universally applicable. Conclusion: It seems to W.J.Johnson that from the perspective of ethics, the standard picture of the Jain Community has been drawn as follows. At one level we picture conformity to, universal ethical demands that have clear soteriological consequences for ascetics and lay people alike. The canoni - 148 -

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cal texts and the mediaeval compendia of rules for lay people are both predicated on this picture. At another level,we picture the Jain Community as creating and existing in a moral or ethical climate'-a generalized non-violent attitude towards the world, symbolized by various basic dietary practices and ritual behaviour. This second level is largely expressive: the sense a community has of itself and the picture it presents to others,rather than karmically (i.e soteriologically) significant for the individuals concerned. Leaving aside the logical analysis of Jain,ethics we can say that the five principle vratas,sikshavratas and gunvratas are universally beneficial to an individual in particular and society in general. If practice. properly, the bring peace and harmony in once life as well as in the society. 1. Tattvaratha Sutra 1.1 2. Saman-Suttam compiled by Shri. Jinendra Varni, edited by Prof.Sagarmal Jain; New Delhi: Bhagavan Mahavir Memorial Samiti,Gatha No.671 p.250. 3. Acaranga 4.2.5,Sutra kr.2.1.15. Saman-Suttam Op.cit.;Gatha No.151 p.56 5. Saman-Suttam Op.cit.:Gatha No.152 p.56 6. Saman-Suttam Op.cit.;Gatha No 670,p.248 7. Saman-Suttam Op.cit. Gatha No 671.p.250 8. Tattarvartha Sutra, 1.1 9. Tattarvartha Sutra, 7. 10. Tattarvartha Sutra,7.7 11. 12. 13. Referances Prashnavyakaran Sutra,5.1 Saman-Suttam Gatha No. 145,p.54-55 Yoga Sutra, 5.1 14. Yogasutras of Patnajali,Prin.M.R.Desai,Kolhapur:Prin.M.R.Desai Publication 1972;p.230 15. Tattarvartha Sutra,7.1 Mind of Mahatama Gandhi, Nirmal Kumar Bose, Ahmedabad:Navjivan Publishing House:p.189. Are Jaina ethics real universal? W.J.Johnson No.4(2006)1-18;p.2 I bid;p.3. John Cort 1995:607 17. 18. 19. Ibid:p.5 20. John Cort 1995:607 -0-0-0 149

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17. MULACARA : A STUDY - Dr. N. Suresh Kumar, Mysore Mulacara is one of the sacred text of Digambara Jain sect of Jainism. It has been mentioned as scripture or Agama by several Jaina Acaryas of later period who have written commenteries on several works like Acarya Pujyapada in Sarvarthasiddhi, Virasena in Dhavala, Asadhara in Anagara Dhamamsta etc. Sometimes it is also mentioned as Acaranga , the first canonical scripture of Jainism by its commentators like Acarya Vasunandi. Meghacandracarya. It has been named as Mulacara ,because it is the scripture comprising the rule of conduct for the monks who belongs to MULA SANGHA. 609 or 632 years of the Mahavira nirvana samvath ie., the time line begun from the salvation of Lord Mahavira, the sect Svetambara came into being and at the same time the nude ascetic group formed a sangha and called it as MULASANGHA. At this critical period there was an emergency occured that to literary framing of Acaranga until that period which was inherited by oral tradition amongst few Acaryas. Vattakera* who was the only one to know of the scripture Acaranga gave it a literary form for the purpose of saving the tradition of monks of Mulasangha. This was aimed at preventing the members of Mulasangha from following the false rule of conduct whilst there was chaos in the ascetic order because of the schism in the ascetic order. Thus the work which contains the rule of conduct framed for the monks of Mulasangha was also named as Mulacara rather than Acaranga. Author Vattakera uses the word 'Mula' time and again for the purpose to give caution to the saints of mulasangha that they must practice the rule of conduct as mentioned in Mulacara. Again that name has been given to scripture as it originated to Lord Mahaveera's order, thus the word 'Mula' has been used to show that saints and also the scripture - 150 -

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Mulacara is preached by Lord Mahaveera. Vattakera commences the text with the particular word Mula, Mulagunesu visuddhe vanditta savvasamjade sirasa | Ihapara-loyahidatte mulagune kittaissami || - Mulacara -1. ||| I bowdown to all the saints who are pure by observing basic-qualities (mulagunas) and I will describe the same mulagunas. Meaning: Author Vattakera says as for the purpose of getting benefit in this and other world as well, I will describe the mulagunas and I bow down to all ascetic who become pure and in this and other world by practising the mulagunas. This canon of Digamabaras is a very important scripture, it gives the true picture of sermons delivered by different Tirthankaras and it can be seen in seventh Sadavasyakadhikara. While describing Samayika author Vattakera defines samayika, religion and pure soul in perfect way. sammatta-naana- samjama- tavehim jam tam pasatta-sama-gamanam | samayam tam tu bhanidam tameva samayiyam jana || - Mulacara-7 : 529. Oh you my beloved disciple please understand, that the perfect movement towards sammatta (right faith ), Unana (right knowledge ) samjama (right self-control or conduct) tava (right penance) is called as religion, soul and also is samayika. So the Samayika means the equanimity or the totality of Samyaktva, Jnana, Samyama and Apa, which is called as Samaya. Here Samaya meant for the Time, Religion and also for Soul itself. About this same subject Acarya Kundakunda gives much more details in Pravacanasara, carittam khalu Dhammo Dhammo jo so samo tti nidditto | moha kkhoha - vihino parinamo appano hu samo 11 (Pravacanasara- Gaha-7.) (-151.

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Meaning: Caritra or conduct is called as religion, that conduct means equanimity again it is said as unperturbed state of the soul, which is the synonym or 'sama' or equanimity of the soul. Thus the religion characterises the Caritra, it is characterised as 'sama' or equanimity. The equanimity of Sammatta, Jnana, Samjama and Tava or Sama-parinama of Soul. This is Samayika or it is also called as CATURYAMA DHARMA , it is the combination of four. Here one should have to think this state of religion is found in the soul when it is at the state of meditation. If it is successive on, soul will become omniscience if not soul will come out of that state and will open the physical eyes. Then starts the contact with the beings of whole world again the soul has to develop that every being is desirous of living not but not to die, the death is harmful and terrific, so the every being love their own soul, in this way the soul should be looked upon with full awareness. This is called as ahimsa or the outward Charitra of the soul. This is the meaning of Ahimsa Paramo Dharmaha or the true Charitra is described in Jaina canons. There is also description about the sermons of 24 thirthankaras of vartamanakala. Among them Lord Vrishabha and Lord Mahavira preached Chedopasthapana Caritra where in 5 vows are described individually to their pupil, to know, to explain in a simple manner. But the Lord Ajitha to Parshwa, 22 thirthankaras preached Samayika Charitra where in the ahimsa is the collective Charitra which was preached to their disciples. This is also called as Chaturyama dharma. It can be seen in aradhana practice also, where in samyakthva, Jnana, Caritra, tapa are the four Aaradhanas. Which means, aradhanas of soul can also be called as balanced state of soul or unperturbed state of soul. Thus, this is called as the religion - 152 -

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This scripture Mulacara is one of the best text which gives almost all the code of conduct for Jaina monks of Mulasangha. The scripture has been divided into twelve different chapters, all the chapters commences with the salutations to the Jina and then mentions the subject or the topic to be discussed. In the first chapter author gives the details about the basic or necessary qualities to become an ascetic. The basic quality to become an ascetic is to follow five major vows, five sense controls, five samitis, six essential duties, nudity, pulling off one's own hair by his own hand, nonbrushing of tooth, not to take bath, taking food on alms from his own hands, receiving food on standing posture, taking alms once in a day, sleeping on one side posture. These 28 basic qualities listed are necessary to become a monk. All these qualities to be fulfilled to become a monk of Mulasangha. There cannot be any exception to any of the rule to get monkhood. The second and third chapter discuss about pratyakhyana or giving up of food and separating the soul from body. This is a special practice of Jaina monks at their old age or famine or any unavoidable consequence which occurs then a monk should practice this method of separation of soul from the decaying body and make future birth as fruitful one. The chapter fourth discusses the behavioural sense of every monk in the ascetic order. Acaraya Upadhyaya Sthavira, sadhus, aryikas and mahattarika newly initiated monks were consist of an order and these monks and nuns, how should they act or behave with elders, youngsters is discussed in this chapter. Acharya heads the order on his direction, all the other monks practices the rule of conduct. Darsana, Jnana, Caritra, Tapa, Virya-Acaras are the five acaras are described in the fifth chapter of Mulacara. These five Acaras are the very important Acaras, each and every monk should try to posses them practically while he will become Acarya or otherwise he will get liberated. - 153 -

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In chapter six there is a wider explanation of PINDESANA, which is translated into PINDA+ ESANA=ie-receiving food and cariya. The kind of food monk should be taken, what is navakoti visuddha (9 thousand crore), what are the types of Ahara doshas, for what sake monk should take food, what is time framed to go for food etc are discussed in this chapter. Six Avasyakas or essential duties of monks are explained in seventh chapter. Samata, Vandana, Stava, Pratrikramana, Aalochana and Kayotsarga are six Avasyakas. The eighth chapter is devoted to anupreksha, they are twelve in number that are the entire subject of meditation and are supportive to the life of detachment. It is told in the text itself as : Jinavayane dittaao buhajanaveraggajananiio Anuprekshas produces detachment in the minds of wise people and it is seen in the scriptures that are described by the Jinas.( 73rd verse of Mulacara of chapter 8th). Anagarabhavana or Bhavanasutra is the ninth chapter of Mulacara. There is description about 10 bhavanas: Lingam vadam ca suddhi vasadiviharam bhikkham nanam ca | Ujjhanasuddhii ya puno vakkam ca tavam tadha jhanam || 771 || Lingashuddhi, Vratashuddhi, Vasatishuddhi, Viharashuddhi, Bhikshashuddhi, Jnanashuddhi, Ujjhanashuddhi, Vakyashuddhi, Tapashuddhi, Dhyanashuddhi, these are the ten bhavanas. Though these are explained in the previous chapters but are re-interpreted here to emphasise the same to get firmness in the ascetic's character. Here are two gahas are to be noted. They are: Nissesadesidaminam suttam dhirajanabahumadamudaram Anagarabhaavanaminam susamana kittanam sunaha || Mulacara-9: 15/773. - 154.

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This is the complete discourse of Tirthankaras and therefore is suttha (Acaranga) and generous is also accepted by the people of firmness and bold. This is praised by the best ascetics. Therefore, oh you ascetics here these sutras. The next sutra is also gives the clue about the text is definitely Acaranga sutra and is direct preaching of lord Mahavira: pavaravaradha mmatittham Jinavaravasahassa Vaddhamaanassa | tivihena saddhahante ya natti ido uttaram annam 11 778 11 This is the greatest discourse delivered by greatest among the conqueror, lord Vardamana and it should be trusted through mind, speech and body, and there is no other religion is greater than this. These two verses gives some subtle details, which are : 1. This text itself is scripture. 2. This is direct discourse of lord Mahaveera. 3. This is Acharangasutra. 4. This is the greatest religion of world. 5. By practicing the rule of conduct that are framed in this Acharanga sutra people of boldness and firmness have attained liberation from the sorrows of birth and death. Bhavanas or the ten shuddhis are must be practised by the monks of Mulasangha, because they are the purifiers of the soul. Samayasara Adhikara is the 10th chapter of Mulacara. One who acts with total awareness will get liberation at the earliest, this is the theme of this adhikara. Here also two gathas gives some internal factors under two titles are mentioned, that the monks must practice inevitably which are : Accelakkam loco vosattasariradaa ya padilihanam Eso hu limgakappo caduvvidho hodi naayavvo || 910 || Accela kkudd esiya-sejj aahara-raya pinda kidiyam mam Vadajettha padikkamanam maasam pajjo samanakappo 119||| - 155 -

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Linga kalpa: Nudity, pulling off of hair on their own hands, leaving the leanience of body ( at the time of meditation)and holding of peacock feather bunch, these are the symbolic four essentials of Sramanas (Saints). Sramana kalpa: Nudity, avoiding food prepared for monks, bed, getting alms from kings palace, essential duties, vows, supremacy, monthly staying in the rainy season and paying respect to the place of liberation. These are the ten essential practices of Saints of the Mulasangha. These are the essence of conduct and describes who are real Sramanas by accepting of Linga (outer symbolic ) Shramana ( monks one should have to be ready mentally and physically to accept and practice these ). In this chapter it is said that every moment one should have to be always full of alart or awareness. These are the essence of the Conduct - Religion Non Violence. This is also called as essence of conduct or Samayasara. In the eleventh chapter, there is a description about silas and Uttaragunas. silas are 18000 in number, gunas are 84 lakhs in number and are elaborately described in ancient Jaina mathematical system. The twelth chapter is Paryapti Adhikara which is the complete fulfilment of the outward appearance of the life. They are receiving of material, body, senses, respiration, language, mind. These are the six Paryaptis explained elaborately. There are some prominent Gahas of Mulacara from which one can understand easily about the text, its messages, style, simplicity and what is the nature of the sramana tradition etc. Jinavayana-mosahaminam visayasuha-vireyanam amidabhudam Ja ra mara na-va h i-veyana khayakaranam sawadukkhanam 11 843 || Sayings of Lord Jinas are the medicine and omits the sensual pleasures and are Immortal. It is also destroyer of oldage, death, illness, and all forms of sorrows. +- 156 -

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Bhikkham cara vasa ranne thovam jemehi ma bahoo jampa | dukkham saha jina niddaa mettim bhavehi suttu veraggam ||897 || Go around to obtain food(in the form of bhiksha), stay at forest, eat less, do not talk more, sustain sorrow, conquer sleep, feel about friendliness and detachment. hemante dhidimanta sahanti te himarayam paramaghoram | angesu nivadamanam naliniivana vinasayam siiyam || 865 || Bold Sramanas who are sustaining the dangerous mists of the winter season are so cold and are the destroyer of lotus jungle that are falling on their body. dujjana-vayana cadayanam sahanti acchoda satthapaharam ca | na ya kuppanti maharisii kha managuna-viyaanayaa sahoo || 869 || The Greate Sages who are the knower of the excellent quality of forgiving are never becomes angry on mischievous scolding words of wickeds, that are destabilising their heart, they also sustain false words and wounds from the sharpest weapons. na vi te abhitthunanti ya pindattham na vi ya kind jaayanti | monawadena munino caranti bhikkham abhaasantaa || 819 || The greate saints never praise anyone for the sake of food, they beg nothing. Without uttering any word about the food they move silently. Akkhomakkhana-mettam bhunjanti munii paanadhaarananimittam | Panam dhamma-nimittam dhammam pi caranti mokkhattham || 817|| Greate-saints takes food for the sake of preserving of their life just like the smearing on the pole of a cart, preserving of their life is for the sake of religion and that the performing of religion is for the sake of the Moksha or Liberation. 157

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Vasudhammi vi viharanta piidam na karenti kassai kayayim | Jiivesu dayavanna maayaa jaha putta-bhandesu || 800 || The saints while they wander on the earth they never harm any of the being at any of the time. They were filled with full of love upon the beings, just like mother's love towards their children. jogesu mulajogam bhikkha-cariyam ca vanniyam sutte anne ya puno joga vinnanavihinayehim kava || 939 || It is explained in scripture bhikshacariyam (going for food) is mulayoga among all yogas, whereas all the other yogas are created by the ignorant fellows. Arambe panivaho panivahe hodi appano hu vaho Appa na hu hantavvo panivaho tena mottavvo 11 923 11 Byarambha occurs violence (harming / killing of beings ), by the violence occurs once own injury (violence). Indeed one should not injure ones own soul. Therefore on this reason violence must be abandoned/ sui jaha sasuttaa na nassadi du pamadadosena | Evam sasutta puriso na nassadi taha pamaada-dosena || 973 || A needle when with the thread will not be lost due to carelessness, likewise person along with the sutta (scriptural knowledge) will not be lost due to the faults of unawareness. Conclusion: This ancient scripture Mulacara shows not only the path to salvation but also shows the ancient religious life of the Jaina saints who actually practised non-violence. This code of conduct is even being followed today by the saints. This is always to be adopted for the peaceful and healthy social life of all the worldly beings. It is said that the status of equanimity of the soul itself is the religion this is internal state and the non-violence is the external state of the relegion. With this there is no other special Reality or practise than in this Universe. - 158 -

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This text also gives message on the reality of life as self realisation is the only path for the removal of all types of worldly sorrows, which is also the need of the present human generation. The new generation is losing confidence in the worldly life while facing the daily social life problems. This problem can be removed through the practising of the equanimity on the other hand it is also called as meditation in modern days. Referance *Vattakera Prof.M.D. VasanthaRaj have expressed his opinion in his book Jainagama Itihasa Deepike 'on Mulacaras author as it may be said as vartma kara ( path maker) is the sanskrit form of the Vattakera name and this is the Prakritised form of name. Probably this was the another name of Acharya Kundakunda, because he had written a commentary called 'Parikarma' on the Shatkhandagama. On this basis in the ascetic order he was renamed and reknowned as Vattakera. But my opinion is different in this case, because Bhadrabahu -ilL, must be the Vattakera and he was the last Acharya was possessed the knowledge Acaramga who had also written the nijjutti (commentary) on the same Acharamga.It is also can be seen in the text itself several time word Nijjutti has been used in the text particularly in the 6th and 7th chapter. Again there was the schism in the ascetic order at that critical period he was as a chief of the ascetic order formed and framed Mulasamgha. At the same time he had agreater responsibility of protecting of ascetic order for this purpose he had commented upon above said two chapters, those are the most important aspects of the ascetic life, because on these factors ascetic order has been devided. In this context it is better to have a view on the explaination made by Prof. F.W. Thomas$ Conduct is Dharma ( Duty) Dharma is defined as equanimity (Sama): for equanimity is a state of evolutions (Parinama) of the Soul, in which it is free from infatuation (Moha) and disturbance. Conduct means behaving according to ones own nature, activeity obaying one's (innate) laws. And is from being the nature of things is Dharma, it means the manifestation of pure intelligence. And this is equanimity; for in it posses the qualities of the Self as they are, equanimity is a state of evolution of the soul, a state which is completely exempt from blemish, because there isno longer any infatuation and disturbance; which were caused by the arising of (udaya) vision infatuating and conduct infatuating (Darsana and Caritra Mohaniya )karman. 1. 2. 3. 4. Jainaagama Itihaasa Deepike - Dr. M.D. VasanthaRaj, varaprakashana, Navilu Rasthe, 9th Cross, Kuvempunagar, Mysore. Pravacanasara of KundaKundacharya, Ed.Dr.A.N. Upadhye, by Raichand Jain Granthamala, Agas 1984. Pravacanasara of kundakundacharya,ed.,Prof. F.W. Thomas Mulacara mattu adara vyakhyanagalu : Ondu adhyayana, Dr. N.Suresh kumar, Doctoral Thiesis submitted to University of mysore, 1996. -0-0-0 - 159 -

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18. THE PANCASTIKAAYA : AN ANCIENT JAIN WORK OF REALITY - Dr. Anekantt Kumar Jain, New Delhi The celebrated Jain Acarya Kundakunda (1st century AD) occupies the highest place in the tradition of Jain acaryas. He belonged to the mula Sangha order. His proper name was Padmanandi. He is popularly referred to as Kundakunda because he was born in a place named Kundakunda in South India. Although he is closely associated with the Digambara sect, his books have become popular among the Svetambaras also in recent decades. For the Digambaras, his name has auspicious significance and occupies third place after Bhagavan Mahavira and Gautama Ganadhara in the sacred litany. Kundakunda composed his works in Sauraseni Prakrit. He is credited with the works like Samayasara, Pravacanasara, Pancastikaya, Niyamasara, Dvadasanupreksa. In the Pancastikaya he gives an account of five astikayas, nine tattvas, and moksa. This text serves as a handy introduction to the fundamentals of Jainism. 1. Introduction. The Pancastikaya (Panchastikaya) is an ancient and important text of Jainas composed in old classical Indian language named 'Prakrit'. Originally it was in 'Saraseni Prakrit' (an important part of the Prakrit language). This work is composed by the famous Jainacarya Kundakunda in 1st century AD. All the works of Sri Kundakunda are in Prakrit verses. But they are easy and beautiful. Prabhrtatraya or nataka, i.e. the trilogy of pancastikayasara, pravacanasara, samayasara or samayasara - prabhrta, Niyamasara, Astapahuda, Rayanasara, Baraha, Anuvekkha are the best creations of Kundakunda. All these works have been published. - 160 -

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2. The Author Sri Kundakundacarya, the author of this work, was a very famous Jain philosopher and theologian. He was also a great organizer of religious institutions. His name is held in great veneration especially by the Digambra sect of the Jainas. Students of Jain literature are familiar with such phrases as the following: Sri-Kundakunda gurupatta- paramaparayam; Sri Kundakundasantanamj Sri - Kundakundakhyamunidravamsa. These are some of the phrases claimed by Jaina writers such as Sakalabhusana, author or Upadesaratnamala, Vasunandin, author of Upasaka dhyayana, Brahmanemidatta of Aradhanakathakosa. Instances may be multiplied without number for showing the important place occupied by our author in the history of Jaina teachers. Some of the epithets employed to characterize him are also significant of his great importance. Samanindra, the Indra among the ascetics, Municakravarti, the emperor among the munis, Kaundesa, and Lord Kunda are familiar designations of the great teacher. The personality of this great teacher, as is generally the case with world famous individuals, is lost in obscurity and shredded with traditions to have a glimpse of this great person. The early history of India is but a string of speculations and even as such there are very many gaps. Under these circumstances, we have to be very cautious about the history of our author. After many discussions a group of scholars decided the first century AD for the Kundakunda's period. The Pancastikaya, as it is specified by its brief title, is one of the important works of Kundakundacarya. It deals with Jain Metaphysics or Ontology and Ethics, i.e. exposition of the path leading to liberation. The ext is in Prakrit Gathas and it mentions its title in two places: Pancattiyasamgaha (Pancastikaya-Sangraha) in Gatha No. 103, and in both the places it is qualified by Pavayanasaram (pravacanasaram). Although the brief title is more popular, some have used the title Sanskrit like Pancastikayasara. - 161 -

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In the Pancastikaya, the five astikayas (Jiva, pudgala, dharma, adharma and akasa), which are different from kala, are explained. In this text there is an authentic explanation of the nature of dravya (substance), division of dravya, saptabhangi, guna and paryaya. In the first adhikara there is an exposition of the dravya, guna and paryaya. In the second adhikara there is clear analysis of the nine padarthas called : Punya, Papa, Jiva, Ajiva, Asrava, Bandha, Samvara, Nirjara and Moksa. The moksa-marga (way to liberation) is also explained. According to the commentary of Acarya Amrtacandra, there are 173 gathas in it whereas according to Acarya Jayasena, there are 181 gathas. 3. Commentaries on the work A number of commentaries on the text are in Sanskrit by Amstacandracarya; Brahmadeva, Devajitu, Jayasena, Jnanacandra, Mallisena and Prabhacandra are known today. Those of Amotacandra and Jayasena are already printed and well known. There is commentary of Balacandra is old Kannada; but, so far, it has not been published. Some expositions of this work in Hindi have been composed by Hemaraja (Samvat 1700) Rajamalla (Samvat 1716), Hiracanda (Samvat 1718) and Vidhicandra (Samvat 1891). 4. The central concept There are two important terms in Pancastikaya, the astikaya and the dravya. The term astikaya is compound name made up of asti and kaya which respectively mean existing and extensive magnitude. Astikaya therefore means a real thing that has extensive magnitude. The other term dravya means the real that is fluent or changing. 4.1. Astikaya The astikaya are five in number - Jiva (soul), pudgala (matter), dharma (principle of motion), adharma (principle of rest) and akasa (space). These five build up the cosmos. Space and matter are distinctly extended reals. - 162 -

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Dharma and Adharma are indirectly related to space. Their operation is in space and is limited by Lokakasa. Thus they may also be considered as related to space. Lastly, life is generally associated with body; the organic body is constituted by pudgala or matter. Jiva is operative in and conditioned by such a physical medium. In a way, therefore, Jiva also related to space. These five existences which have speciality either directly or indivectly are the five astikayas. These are the constituent elements of the universe or the world. Astikayas are described in the text in this way: Jiva Puggalakaya dhammadhamma taheva ayasam | Attittamhi ya niyada anannamaeya anumahamata || (1/4) Jesim Athisahao gunehisaha pajjarvi vivihehi | Te honti atthikaya nippannam jehi tailokkam || (1/5) Here the author enumerates the five existences. He describes the number of each and the general and special characteristics of the different astikayas. Jivas or souls, pudgalas or non-souls, Dharma and Adharma, the principles of rest and motion, and finally space- these are the astikayas. They are eternal, uncreated and of huge magnitude. An other of substances which is the main cause for every changing in this world is called Kala (time). In the text the author did not included the time Astikaya dravya. Therefore kala has no extension either directly or indirectly. Hence, it is not an astikaya. Time has its own definitions. Kala or time, though no an element of the physical universe, is mentioned in the text. Since change and motion are admitted to be real, time also must be considered real. The real or absolute time as contrasted with the relative time is constituted by simple element know as kalanus or instants. Instants, points and atoms are the characteristic conception of Jaina thought and in this respect it has a wonderful colloboration with the field of modern mathematics. 163 -

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So kala (Time) is not an astikaya; it is distinctly a real entity which accounts for changes in other things. Such are the characteristics of real time. This should not be confounded with Vyavahara kala or relative time which is measured by some conventional units of either long or short duration. These conventional distinctions would have no meaning if they are not co-ordinated in a single real time series. 4.2. Theory of existence The term dravya (substance) denotes any existence which has the important characteristics of persistence through change. Pancastikaya admits only the dynamic reality or dravya. Dravya then is that which has a permanent substantiality which manifests through change of liberation. Kundakunda says a very important gatha for the explanation of 'Satta (existence) Satta savvapayattha savissaruva anatapajjaya || Bhanguppaddhuvatta sappadivakkha havadi ekka ||| Existence (substance) is one (as a class). It is the inherent essence of all things. It manifests itself through diverse forms. It undergoes infinite modifications. It has the triple characteristics of creation, destruction and permanence. It also has the antithetical qualities, i.e. it may be described by the opposite. 4.3. Substance, qualities and modes. The dynamic substances or Dravya is always associated with certain intrinsic and inalienable qualities called gunas. Thus the yellow color, malleability, etc., will be the qualities that must exist in some state or form. This is its mode of existence or paryaya. This mode or paryaya is subject to change. It may be destroyed and new mode may appear. But this creation and destruction are relevant only to paryayas or modes and not to Dravyas, the constitutive substance. That can neither be destroyed nor created and that is eternal. - 164 -

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Substance exists with qualities and modes. Without it there is no existence of the substance. Pancaastikaya explains the characteristics of Dravya: Davvam sallakkhanayam uppadavvayadhuvattasani | Gunapajjayasayam va jam tam bhannamti savvanhu || (1/10) Whatever has substantiality, what has the dialectical triad of birth, death and permanence, and what is the substratum of qualities and modes, is dravya. So says the all knowing - omniscience. 4.4. Explanation of Jivastikaya Acarya Kundakunda gave very long explanation about Jivastikaya. He defines the Jiva : Jivo tti havadi cheda uvaogvisesido pahu katta Bhotta ya demoatto na hi mutto kammsaijutto (1/24) The Jiva (soul) has the following attributes. It has life, consciousness, upayoga (knowledge and perception) and is potent, performs action, and is affected by their results, is conditioned by his own body, is incorporeal and ordinarily found with Karma. Kundakunda discussed many subjects which are directly related to jiva i.e. position of pure soul; knowledge of soul, Bhava of the soul, etc. 4.5. Concept of matter - Theory of atom Theory of atom is a very deep discovery of the Pancastikaya. We can compare this theory with modern science. Kundakunda mentions four different kinds of material objects: Khandha ya khandhadesa khandhapadesa ya honti parmanul Edi te chaduvviyappa puggalakaya muneyavva ||| These are the four basic modifications out which the multifarious modes of matter are formed. Matter exists in four main modes: skandhas, - 165 -

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Skandhadesas; skandh apradesas and primary atoms. Here skandhas are the agregates of atoms. This class refers to complete motocular constitution. Skandhadesa is said to be incomplete. But still it is an aggregate. Similarly is skhandhapradesa. These three are the differences in molecular constitution. That last class refers to the primary atom which is the unit constituting the other three classes. This is explained deeply in the next sixteen gathas. 4.6. Path of salvation Right faith, right knowledge and right conduct constitute the path of salvation. In the next half part of the Pancastikaya the author explains nine padarthas (including seven varieties) and the path of salvation. Kundakunda recites a very important gatha to explain the three diamonds (Right faith, right knowledge and right conduct) of Jainism These three are in one Gatha (verse) - Sammattam saddahanam bhavanam tesimadhigamo nanam! Charittam sambhavo visyesu virudhamaagginan IT Belief in the real existence or tatvas is the right faith whole knowledge of their real nature without doubt or error is right knowledge. An attitude of neutrality without desire or aversion towards the objects of the external world is the right conduct. These three are found in those who know the path. Kundakunda explains these three in very deep and spiritual way. He also defines the seven varieties with punya - papa (merit and demerit) called nine padarthas. We can say in short that the Pancastikaya is a single text of the 1st century AD which deeply explains the Jaina theory of reality. -0-0-0- 166 -

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20. JAINA ALCHEMY AS REVEALED IN THE PRAKRIT TEXTS - Dr. J.C. Sikdar, Ahmedabad It is revealed by a study of the Suvarna-Raupya-Siddhisastra of Jinedatasuri that Alchemy appeared to be the principal forerunner of chemistry in India. Ancient practical chemistry, albeit its technological overtones, which present its claims in the history of chemistry as indicated in the Suvarna-Raupya-Siddhi-Sastra. The Jaina alchemist nurtured chemistry as a practical art and through their varied endeavors, provided the growthpoints, from time to time along with other Indian alchemists. They introduced new chemicals including mineral acids and more importantly evolved a number of apparatus, despite the esoteric theories. The origins of alchemical art are shrouded in the darkness of antiquity. The word 'alchemy' is an Arabic modification of the Greek work 'Chemieis.' Towards the end of the fourth century A. D., an Alexandrian Hellenic alchemist named Osmimos made use of the work 'Chemieia' for the first time, relating it to the art of transmutation. The Greek work Chemieia' or 'Chemi' denotes black and it was used to identify Egypt because of the black soil of the Nile Vally and to signify the 'blackening stage of the so-called transmutation process." The tradition of metal-making or the birth of alchemy in the west was probably derived from the secret knowledge of Egyptian priesthood.? In India also alchemy began to develop in the early centuries of B.C., as is evidenced by the citation of making gold through mercurial transmutation in Kautilya's Arthasastra "Rasaviddham Suvarnam.Alchemy was first known as divine art, but after some time it came to be known as the science of metalmaking (Dhatuvada). It follows a set of methods and procedures which converts lower metals into higher metals, e.g. copper into silver, silver into gold." - 167 -

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Al-Beruni tells us three different stories of three different periods with his impression of India alchemy. He first mentions the alchemical experiments of Vyadhi Rasasiddha of Ujjain with which king Vikramaditya (380 A.D. to 4th Cen. A.D. of Ujjain was associated).' Next he refers to the alchemical experiments of an alchemist of Dhar with which its king Bhojadeva '1018 A.D. - 1080 A.D.), the king of Malava, was associated. Lastly he mentions another alchemical experiment of an alchemist with which king Vallabh of Valabhi city of Gujarat (775 A.D.) was associated. As regards alchemy of the Jainas it may be suggested that it might have been influenced, to some extent, by the alchemy of the Arabs and the Chiness' and other culture-areas of India. 2 The aims and objects of Indian alchemy was to drive away poverty, disease and old age of the people. The Rasasiddhas were not satisfied with the achievements only in the field of lohasiddhi (alchemy of metal) but also Kayasiddhi-deathlessness and longevity with disease less body. 4 The periods of Jindadattasuri (VS. 1210) constitutes the most flourishing and fruitful age of ancient India relating to the accumulation of knowledge in chemical science which was then closely associated with medicine. It is to be noted institution of the time of Jinadatta Suri. India, particularly, the Kharatata gacchiya monks of Rajasthana and Gujarat, were influenced by the tanrtic monks of North-East India, Particularly, Matayendranatha and his followers - Goraksanatha, Carapata (or carapati) because their names are often quoted by Jinadatta Suri in the first chapter of Suvarna-RaupyaSiddhi-Sastra. Sri Jinadatta Suri, the author of the MS. of Suvarna-RaupyaSiddhi-Sastra, flourished in the middle of the 12h century A.D. It can be said that both the Hindu and Jains Tantric alchemists worked for the benefit of the world in the field of Alchemy, Medicine and occultism by removing poverty of the people and improving and preserving their health and thus by making them prosperous and happy. - 168

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A Study of the Jaina alchemical thoughts and practices fostered from the time of the Jainacaryas Nagarjuna's and Padaliptasuri up16 to the eighteenth century. A.D. throws a welcome light upon an aspect of the material culture of the Jainas with scientific ideas combined with their interpretation in the light of other Indian literary evidences on Rasayanavidya (Chemistry), Dhatuvidya (Metallurgy) and Ayurveda (Science of life) of the middle ages. A Study of the extant Jaina Mss. In the Suvarna-Raupya-Siddhisastra of Jinadattasuri (V.S. 121017. written in Sanskrit, Prakrit, Apabhramsa and old Gujarati, copied with additional materials in the 18th century. A.D., kept in the library of L.D. Institute of Ideology at Ahmedabad, reveals scientific ideas and practices of the Jainas with two distinct trends in Alchemy. Viz. (1) Chemistry and Metallurgy, and (2) Medical Science, together with some information about occultism. During the middle ages and extensive system, in part secret, of code names or symbolic letters or names for chemical substances was developed by the Jaina caryas. For example. Dhammo mangalamukittam ahimsa samjamo tavo deva vi tam namamsanti jassa dhamme saya mano || Dhammo Mangalam Ukittham Ahimsa Samjamo Tavo = = = = = = Paradah (mercury), (SRSS. Ch. II., Comm.) Hemah (gold), Nepaladesodbhavam tamram (Nepaless copper), Kamtheri (a species of opuntia), Rato agathia (red agasti/glandifora), Krsnakanaka (black dhatura = theory apple), 169

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Towards the end of the eighteenth century. A.D. the Jaina alchemists began to make use of initial letters of the names of elements and compounds, instead of the older. Symbolic names, e.g. 'ha' iti = hatakam (gold) raiti = rasa=paro (mercury), "kha' iti = kharapura (mineral calmine), 'ma' itimanahsala = manashila (realgar), 'ta' iti Iltamkana (borax), "ha' iti=haratala (orpiment). The prominent features of the Suvarna-Raupya - Siddhisastra on alchemy lay in the search after the elixir vitae and the powder of projection as its continents testify.18 The numerous methods for preparation of mercury," iron, copper. gold. silver and other things, although they would not secure importunity or revive the dead, were meant to be helpful accessories and tentatively, mixed up with the medical recipes, which were drawn, chiefly from the vegetable kingdom, but they soon began to assert a supremacy of their own so as even to supplant the old Indian Ayurvedic treatment by herbs and simples. Nay, even absurd pretensions were set up on behalf of these metallic preparations. Thus we come across some remarkable passages in the Jaina. MS. the Suvarna-Rauypa Siddhisaastra amara Kaya kare, etc. The Suvarna-Rauypa-Siddhisastra is an important treatise of the latro-chemical period of India. It is comprehensive and purely a chemical work dealing with many operations of mercury,20 and various chemical processes are incidentally described, a good deal of which, however, overlaps which other as they are found in other Indian works on alchemy in the middle ages. The author of the Suvarna-Rauypa-Siddhi-Sastra, as devote Jaina monk, begins his work with an adoration of Gautame Ganess and Tirthankara Mahavira and even symbolizes Mahavira with mercury as Siva is symbolized with mercury in the Hindu alchemy. - 170 -

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It is interesting to note that the author of the Suvarna-Rauypa-SiddhiSastra declared his indebtedness to the previous Acaryas like Nagarjuna, Padaliptasuri, Carpata, Natha, Sekham Ali and other for a knowledge of certain processes of alchemy as is found in the case of other Indian works on alchemy.23 This seems to indicate that the cultivation of alchemy and chemical knowledge among the Jaina caryas became neglected at a certain period of Indian interest into the lore of alchemy has to be made during the time of the Jaina alchemists of the Latro-Chemical periods as was the case with the authors of Indian works on Rasayanavidya. Alchemy, as revealed in the extant Jaina MS. the Suvarna-Rauypa-Siddhi-Sastra and other Jaina alchemical works, has dealt with mineral kingdom-rasa mercury maharasas (Superior minerals) and uparasas (inferior minerals), ratnas (gems) and lohas (metals) etc. The Suvarna-Rauypa-Siddhisastra gives an accounts of the process for dissolving mercury and oxide of arsenic with conch-shell power, which the Jaina alchemist names as Bhum Bhum and mentions ash of bone of the neck of camel and ash of bone of boar as solvent for copper quickly. They are described as substances endowed with the property of dissolving metals. Besides, some distilling apparatus (Yantra) have been mentioned in the Jaina alchemical works e.g. Dolikayayantra, Valukayayantra, Patalayantra, Kavaciyayantra etc. In short they have treated mercury, minerals and metals, the construction of apparatus, the mystic formulae for the purification of metals, the extraction of essence (Kalka), liquefaction and incineration of metals, etc. the virtues of mercury are commended in the Jaina alchemical works -- the SuvarnaRauypa Siddhi-Sastra and others that men are freed from a multitude of diseases by partaking of medicines, prepared with mercury. The final phase of Jaina alchemy as found in the Suvarna-Rauypa Siddhi-Sastra, - 171 -

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Rasaratnasamuccaya of Manikyadevasuri, etc. is characterized by the fact that over and above opium some other foreign drugs are found incorporated into its pharmacology as is evidenced in other Indian alchemical works. The Suvarna-Rauypa Siddhi-Sastra and a Jaina MS. Vaidyaka Samgraha of an unknown author presecribe calomel. (rasakarpura) and kobcini (kababcini = china root, smilax china=ciniakapur) for whit is termed for the first time as phiringiroga or the disease of the portuguese. "The use of this drug as a remedy for syphilis, it is belived, was made known to the Portuguese at Goa by the Chiness traders about A.D. 1535.24 Both opium and mineral acids are prescribed for many diseases. The Ayurvedic method of treatment has been described in the Suvarna-Rauypa Siddhi-Sastra, etc. in detail as is evidenced in ample citations, as found in other Indian Ayurvedic works.25 Some portions of the Jaina alchemical works have particularly been devoted to minerals preparation, but it seems that they have been borrowed chiefly from some other Indian works. The Jaina MS. - the Suvarna-Rauypa Siddhi-Sastra, MS. the rasaratna-Samuccaya, etc. have dealt with the preparations of medical tinctures and Prescribed mercury, treated with some other minerals as remedy for many diseases as found in Arkaprakasa of Ravana, Bhavaprakasa, etc. The main objective of alchemy as pointed out by the Jainacaryas was to show the way for the destruction of all sins (or evils) - poverty, diseases and old age.26 References 1. From alchemy to chemistry: Dr. B.V. Subbarayappa, Indian National Science Academy, New Delhi, Summer School of History of Science, p. 342. 2. Indian Alchemy and Tantas. Dr. Damodar Joshi, Summer School on History of Science, P. 366. - 172 -

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3. Arthasastra. Kautilya, Chapter, 29/13/2, IS', Edition, 1962 4. See Rasarnava. 5. Suvarna - Raupya - Siddhi - Sastra. : (SRSS) Ch. 1. V. 6. Ibid.. Chapter, I, II, III, up to the XIV chapter. 7. Al-Beruni's India, ed. by Edwards, C. Sachau, pp. 189-190.' 8. Ibid. P. 191 9. Ibid., p. 192 10. Survarna-Raupya-Siddhi-Sastra refers to one Sekham Ali, a Muslim alchemist (probably an Arab) 11. The reference to Chobchini, Cinia Kapur (China Smilex) in the Jaina and non-Jaina Mss. to cure phiringiroga (Syphilis) suggests the Chinese influence on alchemy of the Jainas in later period. 12. The reference to Nagarjuna, Carpata, Natha, Gandu, etc., in the Suvarna-Raupya Siddhi-Sastra indicates that alchemy of the Jainas was greatly influenced by alchemy of the Hindus of different culture areas of India. 13. Suvarna-Raupya Siddhi-Sastra, Ch. 14. 14. Rasattridya tantram. Govinda Bhagavatpada, Chapter 1/10, Motilal Banarsidass, Lahore, 1927. 15. Suvarna-Raupya Siddhi-Sastra (SRSS), Jinadatta Suri, Ch. 1. 60. 16. Ibid., Ch. II. 4. 17. It is the work of Jindatta Suri (V.S. 1210) who belonged to the Kharataragaccha of Rajasthan. 18. Parhe te parane agani dije. ghisyu khai to kaya amara kare, SRSS, ch. IX 1 Paisa bhar Suddha gorakh mardi. saviroga ji dviguni khudha hove., Ibid. Bhiko athava te khaciko curna kije. amara kaya kare. - Ibid. ch. IX.2. 19. See Paradavidhi Paro hingoru Korine Mahe mehlie upari dhaknu dije. paro bandhye puviko thae, uttama nagavanga che 1. mukhamadhye rakhie to bala ghano kare. - Ibid, ch., 12, 18 X 22, 44. 20. SRSS, ch. I. 56; ch. II. 7; ch. III. 12, 13, 18, 22, 44, Ch. IX, 5, 21. See Rasaratna Samuccaya of Manikyadeva Suri, paradavidh 1, etc. 21. See Hindu Chemistry, Dr. P. C. Ray and Pracin Bharat men Rasayanka Vikas, Fourth Part, latro Chemical Period. 22. SRSS. Ch. I. 1. (Sri Gautamaya namah). 23. SEE Rasaratnakara of Nityanatha, Rasaratna Samuccaya of Vagbhata etc. 24. Hindu Chemistry, p. 162. 25. Carakasamhita; Susrutasamhita; Kalyanakaraka, etc. 26. SRSS, Ch. II. (Commentary). -0-0-0 - 173 -

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21. MANDALA CONCEPT IN JAMBUDWIPA PRAJNAPTI Definition of mandala The word mandala which is in Sanskrit derived from maNDai dhAtu kalac pratyayaH... This means round, circular. Even though it may be dominated by squares or triangles. According to Rig Veda, the collection of mantra's are in different categories such as aSTaka, adhyAya, sUkta and maNDala, anuvAka, sUkta. Here the mantra's which were collected in mandala are called as sukta or Ruk. So here the term mandala is as a group, which is the centre of collecting mantras. Yogasastra mentions about muladharacakra and Trikonayoni mandala which is presented in the face of vajranand reflecting light. Trikonayoni mandala is in the triangular shape has the concentric structure. Mandala offers a balance to visual elements symbolizing the power within us and can arouse concentration or deep meditation. Kundalini yoga mentions that mandala is yantra within us. A person gets spiritual power by deep meditation. Vajrayana meditation has mudra, mandala, mantracarya, karyavatsa, soucacara, niyama, japa and so on. kalacakra is described as goddesses of shoonyatha and center of karuna. This goddesses of mandala is filled with stars and planets, Kalacakra mandala has the whole world within it. Here cosmic reality and the metaphysical world are reflected through mandala. Tejaswini Jangda, Bangalore The knowledge of surya mandala is identified in the name of jyotisya. The movements of surya in its mandala are counted as one ahoratri. If we remove the letters Aa and tri from the word ahoratri, only hora will be left. The other name for jyotisya sastra is hora sastra. Here mandala represents the knowledge about cosmic world which can be mathematically derived. Therefore the mandala also symbolizes mathematical knowledge. - 174

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According to Buddhism mandala is a symmetrical representation of the universe that can be sketched, painted, sculpted, embroidered, or sketched in sand. According to John Jones, psychology explains that a mandala is an invocational symbol or sign. Physical disorder has a purpose in human affair. Psychos are itself a symbol of expressing the persons struggle for unity of the self. According to Jainism when a person gets kevalajnana (supreme knowledge) eight types of mahapratiharyas surround him. Bhamandala is one amongst them. Bhamandala means orb which represents supreme knowledge of a person. Every living being has its own abha mandala when ara gets cleansed, the soul shines brightly. Modern science has captured this aura in a photograph called krilian photography. It tells about four lesyas Krsna, nila, kapota, harita and their qualities in it. Umaswati in the text Tatvartha sutra mentions that Jambudwipa is just like surya mandala, the other planets are in bangle shape, but Jambudwipa is in plate shape. Mandala means which is circular in shape. Jaina philosophical text Jambudwipaprajnapti relates the story of cakraratna which led king Bharata in his enterprise. According to mythology, King Bharata son of first Tirthankanra Rsabhadev found two caves (thimisra and khandprapth) in Vaitadhya mountain. King Bharata opened the door of the cave with the help of dandaratna by the senapati and by keeping the gajaratna on his forehead and he entered in the cave on the elephant. Kakini a jem which destroys the darkness which resembles iron weighs 8 tola, width 4 fingers and which can destroy the poison and which is more powerful than sun, moon, and fire and other precious stones. It has the capacity to give brightness up to 12 yojanas. With this precious stone Bharata made the circle in east and west walls in the gap of 1:1 yojana, 500 dhanus width which resembles like the shape of chariot's wheel and which is bright like Candra mandala. Like this Bharata drew 49 mandalas. Because of these mandalas the place has become bright like day light. 175 -

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When he got the cakra ratna, he returned to Rsabhakut parvat and from the same kukani diamond he wrote these lines - osappiNIimIse tAiyAye samAi pacchime bhAe ahamasi cakkavaTTI bharaho iya NAmadhijjeNaM / ahamaMsi paumarAyA ahayaM bharahAhivo NaravariMdo Natthi mahaM paDisattU jiyaM mae bhArahaM vAsaM / / In this awasarpini kala, 3rd aara and 1/3rd part of this knetra - I Bharata, the cakravarty the first king, I am the king of the people, and none can defeat me. I have won this Bharata kshetra. Similarly here we can say that mandala symbolizes the circle of victor which helped the king Bharatha to come out of darkness. King Bharata choice of this mandala will now bring focus on different dimensions. For instance king Bharata represents both the social and spiritual aspects of the mandala philosophy. He takes resort from mandala both as a king to conquer a social and spiritual obstruction. Story of Bahubali and Bharata in which Bahubali mentions taking Bharata's help in his realization. It was Bharata who reflects that Bahubali was somehow disturbed during his penance because he thought he was in the land posses by Bharata. Any thought of possession is an obstruction in the spiritual life. Then he thought of going to Bahubali to help him clearing his doubts. Mandala is also a cycle which refers to many dimensions. Cycle of life, for the training for the hermit, and the cosmic cycle also represent the cosmic world. Types of Mandala Jaina philosophical text Jambudwiprajnapti mentions that Gautama ganadhara asks the question about the mandala to Teerthankara Mahavira. He explains that mandala gives many meanings one of which is rudyarthavacaka. The mandala is divided into two parts bahya and Abhyantara. There are two suns in Jambudwipa. The sun has 184 mandalas and it rotates in these mandalas. It takes 366 days and nights to cover the mandalas. It also tells us the direction - 176 -

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of the sun which moves from South to North and the outer circles of mandalas to inner circles of mandalas. Here we can say that mandala means the place or circumference in which sun revolves. Similarly the text explains about chandramandala. There are five chandramandala in Jambudwipa. Its width 56/61 yojana, area thrice in width and length. The length is 28/61 yojana akhyata. When moon rotates from candramandala to sarvyabahyantara mandala, it covers the area of 5073 7744/ 13725 yojanas in each second. During this the people of Bharatardha knetra can see the moon in a distance of 47263, 21/60 yojana. Similarly in Jambudwipa knetra there are two naksatramandalas in the distance of two yojanas between them. The text also explains the circumference of naksatra mandala and so on. So here we can say it is the symbolism expressed mathematically to count the distance, circumference etc. it is also a symbolism of jyotisya Sastra because it studies the planet and its effect on the living being. General meaning In general mandala means a symbol which is drawn by priests using vermillion and turmeric to attain moksa. Here mandala means to get the concentration or to imagine the area from which we have to come out. Significance of mandala. We can give the significance in three concepts. Loukika, Aloukika and Darsanika. In loukika when we see the picture of Jambudwipa we get to know that we are living in a place where there are six mountains, seven places, 14 rivers, and 6 ponds. And we will also come to know about their measurement. In Darsanika this Jambudwipa is made of six dravyas (jiva, pudgala, dharma, adharma, akasa, kala, five astikayas, Jivastikaya, dharma adharmastikaya and akasastikaya) and so on. It gives knowledge about srusti, jeeva jagath. In aloukika we come to know about the srusti jiva jagat, the formation of Jambudwipa, where we are and where we will go next. - 177 -

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The concept of Tirthankara says Jambudwipa is permanent but living beings are not. We roam in four gatis. Deva, naraka, tiryancha, and manusya. So here Jambudwipa itself is mandala and we are in mandala. If we come out of this mandala then we can attain moksa which is possible by the concept of Tirthankara, Samyag-jnadarsana-caritra or Dharmadhyana. Again in dharmadhyana we can see four divisions. Aagma vicaya [the discourse of Tirthankara), apayvicaya (karmabandha through artadhyana), vipaka vicaya (the result of karma), sansthana vicaya (it makes us come out of the four gatis). Here we can say sansthana vicaya is itself a mandala which takes us from known to unknown knowledge (avadhijnana of meghakumar). When bhogabhumi took the place of karmabhumi people strongly believed that through performing the kriyas one can attain the moksa. The King Bharata took 60000 years to attain the title of cakravarthy. But it took mere seconds to attain kevalajnana or moksa. So Jambudwipa mandala helps us in the realization of the difference between the kriyas and the mind. Model of Jambudwipa BARA mil The picture of Jambudwipa which is in mandala shape mentioned in Agamas described by the Tirtankara took the new di- Jegy airAvala kSetra mension in 1985. Jnanamati mataji in the year 1985 constructed the temple in the shape of Jambudwipa in Hastinapur (U.P.). Even the laymen can also understand about the Jambudwipa, its location and our presence in Bharataksetra. TIET illim MIT lill BURU DELL US VORA WS PILO ... - 178 -

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Symbolic meaning In general when we see the diagram of Jambudwipa we think that the diagram is very beautiful but the picture depicts the geographical symbolism. It is the symbolic expression of srusti jiva jagath. It is the symbolism of the balance of life. It is the symbol of ahimsa through the concept of Tirthankara. It is the documentation of statistical data. It is the concept of Tirthankara, Live; let live and help the others to live.. Conclusion I have begun research on the relevance and importance of these mandalas in Jain agamas. As we go deep into the subject we understand that it is not mere drawing but an amazing interpretation of the srusti jiva jagath. It is not merely a statistical data or geographical symbol but out of this we understand the presence of another world that is siddhalaya where moksatmas are there. Through Tirthankaras we come to know about four gatis which are sorrows. To overcome this we have to understand the same and follow the paths of Tirthankara. The information which is available in Jambudwipa prajnapti. Just as how macrocosm is evolved from microcosm here out of this mere diagram have evolved much universal truth. References Hastimalji Acarya. Jaina Dharma Ka Moulik Itihas Samyajnana Prakasak Mandala, Jaipur, 1974 Gjnanamati Mataji. Jambudwipa Vidhana Mandala, Digambar Jain Triloka Sodha Sansthana, Hastinapur, 1987 Translator Dr. Chaganlal Sastri, Jambudwipa Prajnapti Sutra, Beaver, 2008 Ghasilalji Acarya. Surya Prajnapti, Akhila Bharata Sastroddhana Samiti, 1981 Acyutananda. J Bihajjatakam, Coukamba Publications, 2002 Kulakarni. R. N Kundalini Yoga, Samaja Pustakalaya Dharvad, 2000 Kulakarni. R. N Sahajasiddi Yoga, Samaja Pustakalaya Dharvad, 2000 Sarvarthasiddhi. D. Buvanahalli, Padmanabhasarma, Dharmastala, 1988 Web References En.wikipedia.org/wiki/mandala http://www.google.com/#pq=john+jones+psychology &hl=en&sugexp=gsis%2Ci18n% -0-0-0- 179 -

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prAkRta-hindI khaNDa 22. prAkRta aura saMskRta kA aMtaHsambandha - pro. rAdhAvallabha tripAThI, naIdillI isameM koI saMdeha nahIM ki Aja ke aMtarvirodhoM aura vividha visaMgatiyoM ke saMkula samaya meM jahA~ mUlyoM aura naitika bodha kA kSaraNa hotA dikhAI de rahA hai, vahA~ bAhubalI prAkRta vidyApITha, zravaNabelagolA jaisI saMsthAe~ bacI huI AsthA aura arthavattA kI pratIka bana kara sakriya haiN| isa saMsthA ne jina jIvana mUlyoM kA paripAlana aura poSaNa kiyA hai, ve jainadarzana ke anekAMtavAdI cintana ke anurUpa haiN| anekAntavAda, syAdvAda yA saptabhaMgInaya ke siddhAntoM ne sApekSatA, bahulatA aura sAMpradAyika saMkIrNa bhedabhAva se upara uTha kara, jIvana ke bRhattara mUlyoM ko ghoSita karane meM mahattvapUrNa bhUmikA kA nirvAha kiyA hai| Aja vizva ko anekAnta ke pIche antarnihita jIvana bodha kI nitAnta AvazyakatA hai| isa jIvana bodha ke dvArA vartamAna kI asahiSNutA aura saMkIrNatA kA nirAkaraNa tathA samAja meM sAmaMjasya aura sauhArdra kI sthApanA ho sakegI tathA bahulatA aura vividhatA kI sahaja svastha saMskRti kA vikAsa ho sakatA hai| anekAnta para AdhArita vividha saMskRta aura prAkRta bhASAoM ke pArasparika sambandhoM para carcA yahA~ prastuta hai| prAkRta, saMskRta meM satata saMvAda bhAratIya bhASAparivAra meM vaidika saMskRta, laukika saMskRta, pAli tathA prAkRta ye bhASAe~ paraspara itanI adhika saMzliSTa tathA ghaniSTha rUpa se sambaddha rahI haiM ki inheM kahIM-kahIM to alaga-alaga bhASAe~ mAnA hI nahIM gayA, vizeSa rUpa se vaidika aura laukika saMskRta to eka hI bhASA hai| saMskRta aura prAkRta donoM hI mUlataH janasamAja meM pracalita rahI haiM, ina donoM meM saMvAda kI eka satata aura sudIrgha prakriyA ne hamAre zAstrIya vimarza aura sAhityika paramparAoM ko sampanna banAyA hai| yadi saMskRta kI cintana paramparAoM ke sAtha saMvAda ke kAraNa prAkRtabhASA meM dArzanika vimarza puSTa huA, to prAkRta ke sAtha saMvAda ke krama meM saMskRta meM loka jIvana ke kAvya aura usake vimarza kI prakriyA upakrAMta huii| isI taraha caritalekhana, itihAsa racanA, chandazAstra, kavisamaya, muhAvare, lokoktiyA~, kAvyavidhAe~, kathAnaka rUDhiyA~, AkhyAna-upAkhyAna ina saba ke pArasparika AdAna-pradAna ke dvArA saMskRta, pAli aura prAkRta tathA apabhraMza bhASAoM kA sAhitya sampanna bnaa| IsA kI AraMbhika zatAbdiyoM meM prAkRta sAhitya ne saMskRta kAvya paramparA ke samAnAntara apanI svArjita pratiSThA prApta kara lI thii| kAvya kI vidhAoM kA vibhAjana bhASA ke AdhAra para karate hue alaMkAra zAstra ke lakSaNakAra batAte Aye haiM ki kAvya tIna prakAra kA hotA hai -saMskRtakAvya, prAkRtakAvya aura apabhraMzakAvya / kAvyazAstra ke suvidita AcArya daNDI ne chaThI zatI ke AsapAsa praNIta apane kAvyAdarza meM prAkRta sAhitya kI paramparA para prakAza DAlate hue kahA hai - 180

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mahArASTrAzrayAM bhASA prakRSTaM prAkRtaM viduH sAgaraH sUktiratnAnAM setubandhAdi ynmym||. zaurasenI ca gauDI ca lATI cAnyA ca taadRshii| yAti prAkRtamityevaM vyavahAreSu snnidhim| - kAvyAdarza 1.34,35 arthAt mahArASTra meM pracalita mahArASTrI prAkRta anya prAkRta bhASAoM meM sarvazreSTha mAnI gaI hai, jisameM sUktiratnoM ke sAgara setubandha Adi kAvya race gaye haiN| isakeatirikta zaurasenI, gauDI, lATI tathA isa prakAra kI anya prAkRta bhASAe~ bhI vyavahAra meM pracalita haiN| TIkAkAra ratnazrI jJAna ne zaurasenI ca gauDI, ca lATI cAnyA ca tAdRzI isa kathana kI TIkA meM kahA hai ki ye prAkRta bhASAe~ haiM, jisake prayoga sAhitya meM gauNa rUpa meM hote haiM, jabaki mahArASTrI prAkRta ko saMskRta bhASA kI taraha sAhityika prayoga ke liye saMskArita kara liyA gayA / isalie karpUramaMjarI jaise katipaya apavAdoM ko choDa deM, to zaurasenI, gauDI, lATI Adi prAkRta bhASAoM meM svataMtra rUpa se viracita koI sAhityika kRti prAyaH nahIM miltii| zaurasenI prAkRta meM jainasiddhAMta ke graMtha avazya likhe gaye haiM aura jaina Agama graMthoM kI bhASA ko ardhamAgadhI kahA gayA hai| prAkRta mUlataH vyAkaraNa ke niyamoM se bandhI nahIM thii| abhinavagupta kahate haiM- prakRtesaMskArarUpAyA Agatam prAkRtam- asaMskRta yA vyAkaraNa se aparimArjita rUpa prakRti hai, usase janma lene vAlA bhASArUpa prAkRta hai| prAkRta kathAkAra udyotanasUri apanI kuvalayamAlAkahA meM kahate haiM ki sAhityika stara para kathA ke pAtra saMskRta, prAkRta aura apabhraMza yA paizAcI meM bAtacIta karate hue pradarzita kiye gaye haiM aura aise prasaMgoM meM udyotanasUri ne saMvAda saMskRta yA apabhraMza bhASA meM hI diye haiM paaiybhaasaariyaamghtthtthdeshiivnnnnynnibddhaa| suddhA sayalakahA ccia taavsjinnstthvaahilaa| kautUhalena katthai paravayaNavaseNa skkynnibddhaa|| kiMci avabhaMsakAyA daaviypesaaybhaasikaa|| gAthA gAyana kI paramparA : gAthA chanda yA gAthA kI vidhA ko prAkRta kavitA ne jo utkarSa pradAna kiyA, vaha bhI bhAratIya sAhitya kI anamola nidhi hai| vaidika saMhitAoM kI racanA ke sAtha-sAtha saMskRta meM gAthA, itihAsa, purANa Adi ke rUpa meM laukika vAMgamaya kI racanA bhI hotI A rahI thii| veda mantroM ko SiyoM ke vaMzajoM yA ziSyoM ke pAsa hI rhe| dUsarI ora gAthA, itihAsa-purANa ke rupa meM jo vAMgamaya vikasita ho rahA thA, vaha janasAmAnya taka phuNcaa| yaha vAGmaya bhI veda ke hI samAna prAcIna hai| -181

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gAthA gAyana kI paramparA vaidika kAla se hI calI A rahI thI / vaidika yajJoM meM gAthA gAyana hotA thaa| brAhmaNa graMthoM ne to kisa yajJa meM kisa-kisa mUrcchanA yA tAna ke sAtha kauna-sI gAthAe~ gAI jAyeMgI isakA vidhAna bhI batAyA hai| vaidikakAla se calI AtI gAthA kI paramparA meM saMskRta ke sAtha-sAtha prAkRtabhASA meM gAthAoM kA praNayana hotA rhaa| saMskRta aura prAkRta kI gAthAoM kA chandovidhAna, laya aura gati eka hI hai| zrI ratnazekharasUri ne apane chandaH koza meM gAhA kA lakSaNa isa prakAra kiyA hai sAmantreNa bArasa aTThArasa bAra panaramattAo / kamaso pAyacaukke gAhAe huMti niyameNaM // gAhAidale cau cau mattaMsA satta aTThamo dukalo / vIdale vihu navaraM chaTThoi ekagalo // saMskRta AryA chanda kA bhI yahI lakSaNa hai| gAhAsatasaI kI lokapriyatAH prAkRta kI gAthAoM kA prathama upalabdha saMkalana pahalI zatAbdI meM rAjA hAla ne gAhAsatasaI ke nAma se taiyAra kiyaa| gAhAsatasaI bhAratIya sAhitya kI anamola nidhi hai| isakI gAthAe~ bhAratIya jIvana aura samAja kI saccAIyoM se hameM rUbarU karAtI haiM, apanI sarasatA aura sauMdarya meM bhI ve anokhI haiN| gAhAsatasaI kI gAthAoM kA prabhAva saMskRta kI muktaka kAvya paramparA para dekhA jA sakatA hai| jo vidvajjana kAlidAsa ko guptakAla kA kavi mAnate haiM, ve inake meghadUta, kumArasambhava Adi kAvyoM meM gAhAsatasaI ke gAthAoM kI chAyA dekhate haiN| zrI esa. vI. sohAnI kA mata hai ki kAlidAsa ne sAtavAhana rAjA hAla kI gAhAsatasaI se prabhAvita hokara kumArasambhava tathA meghadUta meM zivapArvatI ke dAMpatya kA sarasa citraNa kiyA hai| yahI nahIM, ve yakSa ke saMdeza kI nimnalikhita paMktiyoM meM gAhAsatasaI kI eka gAthA kI AlocanA karate hue pratIta hote haiM snehAnAhuH kimapi varihe dhvaMsinaste tvabhogAdiSTe vastunyupacitatarase premarAzIbhavanti // meM arthAt kahate hai ki viraha meM prema kucha chIja jAtA hai, para aisA kahanA ThIka nahIM hai| vAstava meM iSTa yA priya ke dhyAna ekatAna hone se viraha meM virahI ke citta kA prema rAzi - rAzi saMcita hokara bar3hatA rahatA hai| gAhAsatasaI kI eka gAthA meM kahA gayA hai ki premikA se na milane para prema dhIre-dhIre aise hI samApta ho jAtA hai, jaise cullU meM liyA gayA pAnI addaMsaNeNa puttaa suDavi NamehANubandhaghaDiAI / hatthaucapANiAi~ va kAleNa galaMti pemmAI || 182 - gAhAsatasaI 3, 36

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11vI zatAbdI ke mahAkavi govardhana ne gAhAsatasaI ko Adarza banA kara AryAsaptazatI kI racanA kii| govardhana ne svayaM hI svIkAra kiyA hai ki jo rasa kI dhArA prAkRta kavitA meM sahaja rUpa se baha rahI thI, use unhoMne balAt saMskRta racanA meM bA~dhane kA prayAsa kiyA hai aura yaha prayAsa aisA hI hai jaise nIce kI ora sahaja gati se baha rahI kaliMdakanyA yamunA ko gaganatala kI ora le jAnA vANI prAkRtasamucitarasA balenaina saMskRtaM niitaa| nimnAnurUpanIrA kalindakanyeva gaganatalam // - AryAsaptazatI-52 yaha govardhana kI vinamratA hI hai jo ve aisA kahate haiN| unhoMne apanI kavitva pratibhA se sacamuca prAkRta kI loka jIvana se juDI rasamaya dhArA ko saMskRta kA aMga banA diyA hai| puAla kA sArA Dhera isa baila ne roMda kara satyAnAza kara diyA- yaha samajha kara ghara kA mAlika (halavAhA) baila ko pITe jA rahA hai aura idhara halavAhe kI bahU aura usakA devara corI se eka dUsare kA mu~ha tAkate hue usakI isa harakata para ha~sa rahe haiN| gAhAsatasaI kI gAthAoM meM kahIM-kahIM devara bhaujAI ke bIca isa taraha ke sambandhoM kI carcA AtI hai| dUsarI ora gAhAsatasaI meM madhyamavargIya bhAratIya parivAra kI gRhiNiyoM ke bhI citra haiM, jo govardhana kI isa AryA meM ukere gaye haiN| gAhAsatasaI paravartI bhAratIya muktaka kAvya paramparA kI eka upajIvya kRti bhI kahI jA sakatI hai| isake dvArA hamAre apane jIvana kA sarasa rAga-raMga kavitA ke laya aura chanda meM samA gyaa| eka gAthA meM nAyikA sakhI se kahatI hai - NIsAsukkaMpiapulaehiM jANaMti nncciuNdhnnnnaa| amhArisIhiM diTTe piammi appA vi viisrio|| ve dhanya haiM, jo sA~sa, kaMpana aura romAMca se priya ko nacA letI haiM, hama to unheM dekha kara apane Apa ko hI bhUla jAte haiN| bilkula isI bhAva ko saMskRta kavi ne sundara rUpa meM nAyikA ke isa kathana meM sa~joyA hai dhanyAsi yA kathayasi priyasaMgame'pi vizrabdhacATukazatAni ratAntareSunIvI prati praNihite tu kare priyeNa saMkhyaH zapAmi yadi kiMcidapi smraami| gAhAsatasaI ke gAthAoM meM gA~va girA~va ke kisAnoM ke jIvana va bhAratIya gRhaNiyoM ke zIla kA adbhUta aura mArmika citraNa huA hai| eka durgata yA vipanna parivAra ke ghara kI yaha jhA~kI hai duggayagharammi ghariNI rakkhaMtI AulattaNaM pinno| pucchiadohalasaddhA uyayaM ciya dohalaM kahai // (457) -- 183 -

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(durgatagRhe gRhiNI rakSantyAkulatvaM patyuH / pRSTadohadazraddhodakameva dohadaM kathayati) daridra ke ghara meM gharavAlI jo mA~ banane ko hai pati ke pUchane para ki kyA kucha cAhie usakI AkulatA lakha uttara detI hai- kucha nahIM saMskRta aura prAkRta kI sahavartitAH vaidika yajJoM meM gAyA jAne vAlA gAthA chanda prAkRta sAhitya meM gAhA ke rUpa meM AyA / prAkRta meM Akara yaha aisA sarasa madhura aura manohara ho gayA ki saMskRta kaviyoM ne prAkRta gAthAoM ko apanI kavitA meM utArA, to kAvyazAstra ke AcAryoM ne bhI ina gAthAoM ko apane siddhAntoM kI puSTi meM anekazaH uddhRta kiyaa| para saMskRta aura prAkRta sAhitya ke bIca AdAna-pradAna kI yaha prakriyA ekataraphA nahIM rahI, kAlidAsa aura amarUka jaise mahAkaviyoM kI kavitA kA prabhAva vajjAlagga ke paravartI kaviyoM kI gAthAoM meM phira dekhA jA sakatA hai| saMskRta aura prAkRta kI sahavartitA isI taraha niraMtara banI rhii| ...kevala pAnI.. IsA kI pahalI sahasrAbdI ko hama saMskRta aura prAkRta kI antarnirbharatA aura sahaastitva kI zatAbdI kaha sakate haiN| mahAkAvyoM meM paumacariu, setubaMdha aura gauDavaho jaisI racanAe~ kAlidAsa aura bhAravi, mAgha, zrIharSa kI bRhat-trayI ke mahAkAvyoM ke sAtha saMvAda aura aMtaH kriyA kI prakriyA kA sAkSya detI haiN| saMskRta meM aSTAdaza purANoM aura upapurANoM kI racanA pahalI sahasrAbdI meM ho rahI thI, to prAkRta meM mahApurANa, harivaMzapurANa, jambusAmicariu Adi kI racanA ho rahI thii| kathA aura AkhyAna kI paramparA meM prAkRta sAhitya kI samRddhi aura upalabdhiyA~ saMskRta kathA sAhitya se adhika viziSTa haiN| taraMgavatIkahA, kuvalayamAlAkahA, lIlAvaIkahA, nivvANalIlAvaI, vilAsavaIkahA, samarAiccakahA, puppavaIkahA, surasundarIkahA, manoramAcaria, nammAyAsundarIkahA Adi kathAoM meM bhAratIya kathA paramparA ke durlabha udAharaNa saMcita haiN| prAkRta sikhAne ke lie saMskRta mAdhyama aura saMskRta vyAkaraNa kA Azraya liyA jAtA rhaa| vararUcikA prAkRta prakAza yA prAkRtasUtra tIsarI cauthI zatAbdI meM racita mAnA gayA hai| isameM mukhyatayA saMskRta ke mAdhyama mahArASTrI prAkRta sikhAI gaI hai, saMskRta se mahArASTrI meM rUpAntara ke liye niyama nirdiSTa kiye gaye haiN| yahI sthiti mArkaMDeya ke prAkRta prakAza tathA anya vyAkaraNoM kI bhI hai| kahA jAtA hai ki saMskRta bhASA janasAmAnya kI bhASA nahIM raha gii| para sAhitya meM jina prAkRtoM kA prayoga milatA hai, ve janasAmAnya kI bhASA rahIM ho, aisA nahIM lgtaa| prAkRta klAsikI bhASA ke rUpa meM rUDha ho cukI thI / - 184 - -

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prAkRta jana-jana kI bhASA nahIM rahI taba usakA sthAna apabhraMza aura navya bhAratIya bhASAe~ lene lagIM, taba prAkRta kI jo gAthAe~ jana-jana ke kaMThoM kA hAra thI, unheM gAne aura sunane vAle kama hone lge| aisI sthiti kA eka kAruNika nirUpaNa vajjAlagga kI isa gAthA meM milatA hai gAhA ruvai varAI sikkhijjaMti gavAraloehiM / kIrai luMcca paluccA jaha gAi maMda dohehi // gAthA becArI ro rahI hai gaMvAra loga use nIMca kharoMca dete haiN| jaise koI anADI dUdha duhate samaya gAya ke thanoM ko || bharatamuni kahate haiM ki kamala, amala. reNu, taraMga, lola, salila Adi aise DheroM zabda, jo saMskRta aura prAkRta donoM meM tatsama rUpa meM hI prayukta hote haiN| ataeva prAkRta kI racanA meM saMskRta aura saMskRta kI racanA meM prAkRta kA samAveza ho jAtA hai| prAkRta kI zabda- sampadA : paNDita AcAryoM ne isa tathya kI ora dhyAna nahIM diyA hai ki aneka zabda aise bhI haiM, jo mUlataH dezaja yA prAkRta kI apanI sampadA yA virAsata haiM, tathA unheM saMskRta bhASA ne aMgIkAra kiyA hai| paNDita jana dohada zabda kI nirukti doharda se kara sakate haiM, parantu yaha zabda mUlataH prAkRta kA hai, jise saMskRta bhASA ne apanA liyaa| yahI sthiti devara jaise zabdoM kI bhI hai, jinakA saMskRta rUpa dvivara banAyA jA sakatA hai, para ye apane prAkRta rUpa meM hI saMskRta ke sAhitya meM dhaDalle se prayukta hote Aye haiN| hAlA zabda, jisakA prayoga kAlidAsa ne apane meghadUta meM kiyA hai (hitvA hAlAmabhimatarasAM revatIlocanaMkAm--), mUlataH saMskRta kA na hokara prAkRta kA hai, jo Aja bhI Adhunika bhAratIya bhASAoM meM prayukta hotA A rahA hai| ina zabdoM ke atirikta prAkRta bhASA ne dezaja zabdoM kA jo bhaNDAra surakSita rakhA hai, vaha saMskRta ke klAsikI sAhitya meM to jagaha nahIM banA sakA, para saMskRta ke kathAsAhitya meM usameM se aneka zabdoM ke aneka motI apanI AbhA jhalakAte hue dikhate haiN| zukrasaptati, bharaTakadvAtriMzikA jaise saMskRta kathA graMthoM meM to saiMkaDoM zabdoM kA prayoga huA hai, jo saMskRta ke nahIM haiM, para ina saMskRta kathAgraMthoM ke praNetAoM ne unmukta bhAva se unheM apane sAhitya meM sthAna de diyA hai| caMga, pogaMDa Adi zabda aise hI haiN| saMskRta meM chavilla aura prAkRta meM chailla zabda rasika yA sahRdaya vyakti ke lie Ate haiN| arthAntara ke sAtha chaila-chabIle yA saundaryalolupa vyakti ke lie bhI inakA prayoga huA hai| cheka zabda inakA samavartI hai| - 185

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prAkRta bhASA eka dRDha setu : isameM koI saMdeha nahIM ki prAkRta bhASA ne saMskRta aura apabhraMza tathA saMskRta aura Adhunika bhAratIya bhASAoM ke bIca dRDha setu kA kArya karatI rahI hai| isake sAtha hI dezaja zabdoM kA jo apUrva bhaNDAra prAkRta ne sa~jo kara rakhA hai, vaha bhAratIya bhASA paramparA kI durlabha kaDI hai| prAkRta ke adhyayana ke binA bhAratIya bhASAvijJAna aura bhASA paramparA kA koI bhI adhyayana apUrNa hI kahA jaayegaa| vAstava meM saMskRta kA pANDitya prAkRta bhASA aura usake sAhitya ke jJAna ke binA adhUrA hai| para yaha bhI utanA hI satya hai ki prAkRta kA samyaka jJAna aura prAkRta bhASA tathA sAhitya para adhikAra ke lie saMskRta kA samyak jJAna nitAnta Avazyaka hai| paramapUjya svastizrI cArUkIrti bhaTTAraka svAmI jI ke mArgadarzana meM bAhubalI prAkRta vidyApITha dvArA saMcAlita rASTrIya prAkRta adhyayana evaM saMzodhana saMsthAna prAkRta-saMskRta evaM anya bhAratIya bhASAoM ke zikSaNa aura zodhakArya meM pravRtta haiM , isakA lAbha bhAratIya bhASAoM ke vikAsa ko milegaa| isase uttara aura dakSiNa kI sArasvata paramparA meM saMvAda bnegaa| isa saMsthAna ne prAkRta aura kannaDa bhASA ke sAhitya ko prakAza meM lAne kA prayAsa bhI kiyA hai, tADapatrIya pANDulipiyoM kI surakSA aura khoja meM vidvAno ko lagAyA hai, isase bhAratIya sAhitya kI dharohara surakSita ho rahI hai| -0-0-0 - 186

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23. abhimAnameru puSpadanta evaM unakA tisaTThi - mahApurANu prAcyakAlIna paramparAgata dharma - kathA - sAhitya ko jaina - paramparA meM purANa athavA mahApurANa kahA gayA hai| purANa to use kahA gayA hai, jisameM kisI eka zalAkA - mahApuruSa ke carita kA varNana rahe aura mahApurANa vaha hai, jisameM saTha - zalAkA ke antargata Ane vAle sabhI traisaTha prakAra ke mahApuruSoM kA varNana kiyA gyaa| isIliye jainAcArya-lekhakoM ne mahApurANa ko tisaTThimahApurisaguNAlaMkAro (triSaSTi- mahApuruSaguNAlaMkAra) bhI kahA hai| jJAta evaM upalabdha jaina- mahApurANa saMskRta, prAkRta evaM apabhraMza meM jaina purANa- sAhitya to pracura mAtrA meM likhA gayA kintu mahApurANa - sAhitya alpa mAtrA meN| abhI taka kula milAkara 7 (sAta) mahApurANoM kI jAnakArI milAtI hai - saMskRta meM - 3, prAkRta meM - 2 evaM apabhraMza meM - 2. - pro. DaoN. rAjArAma jaina, noeDA - inameM se saMskRta kA prathama mahApurANa hai- acArya jinasena kA, jisakA apara - nAma hai triSaSThizalAkAmahApuruSacarita (9vIM sadI IsvI) / yaha grantha prakAzita ho cukA hai| saMskRta kA dvitIya mahApurANa hai| - AcArya hemacandrakRta (12vIM sadI I.) triSaSThi - lkssnnpurusscrit| yaha grantha bhI prakAzita ho cukA hai| saMskRta kA tIsarA mahApurANa aprakAzita hai| usake lekhaka kA nAma bhI ajJAta hai / isakI sUcanA amarasUrikRta prAkRtamahApurANa ke eka pAda-TippaNa meM milI hai| usakI pANDulipi jaisalamera (rAjasthAna) ke zAstra - bhaNDAra meM surakSita hai| inameM se dvitIya evaM tRtIya racanAe~ zvetAmbara - paramparA se saMbaMdhita haiN| prAkRta-bhASAtmaka do mahApurANoM meM se prathama mahApurANa ke lekhaka hai, zIlAMkAcArya (san 868 I.) / yaha grantha caupanna-1 -mahApurisacariyaM (prakAzita, vAraNAsI - 1961) ke nAma se prasiddha hai| isakI vizeSatA hai ki isameM 9 prativAsudevoM kI carcA nahIM kI gaI hai| prAkRta bhASAtmaka dUsare mahApurANa ke lekhaka hai, acArya merutuMga / yaha grantha aprakAzita hai| isakI pANDulipi pATana (gujarAta) ke zAstra - bhaNDAra meM surakSita hai| prAkRta kI donoM racanAe~ zvetAmbara-paramparAnukUla likhita haiN| apabhraMza-bhASA meM likhita do mahApurANa upalabdha haiN| prathama hai mahAkavi puSpadantakRta (10vIM sadI I.) jo tisaTThimahApurisAyAraguNAlaMkAru ke aparanAma se prasiddha hai aura jo prakAzita ho cukA hai| dvitIya hai mahAkavi raidhU (16vIM sadI I.) kRta, jo tisaTThimahApurANa- purisAyAraguNalAMkArU ke aparanAma se bhI prasiddha hai| isakI bhArata meM mAtra eka hI jIrNazIrNa pANDulipi upalabdha haiN| usameM 50 sandhiyoM evaM 1357 kaDavaka hai| isakA sampAdana-kArya cala rahA hai| - 187 - -

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mahAkavi puSpadanta ne apane ukta tisaTThimahA. kI sandhiyoM ke anta meM use mahAkAvya kI saMjJA bhI pradAna kI hai| yadyapi adhyayana karane se isa vizAla-grantha meM mahAkAvya athavA prabandha-kAvya kI zrRMkhalA-baddhatA to nahIM milatI aura vaha nizcaya hI paurANikatA-pradhAna kRti hai| phira bhI, usameM mAnava-jIvana kA zAyada hI aisA koI pakSa ho, jisa para puSpadanta ne prakAza na DAlA ho| paramparAgata kathAnaka meM jahA~ kahIM bhI koI rasasikta prasaMga AyA hai, mahAkavi ne use apanI kavitva-zakti se hRdayahArI banAkara prastuta kiyA hai| isa prakAra ke udAharaNa usake tisaTTi.mahA. meM varNita pradhAna-nagaroM, pradezoM, vahA~ ke nAgarikoM evaM vanya-prAntoM ke prAkRtika-saundarya-varNanoM meM pracura mAtrA meM dekhe jA sakate haiN| tisaTThi-mahApurANa ke praNetA : prastuta grantha ke praNetA mahAkavi puSpadanta haiM / kintu bhAratIya sAhitya ke itihAsa meM puSpadanta nAmake anya tIna lekhakAcAryoM ke nAma aura bhI milate haiN| tisaTTi. mahApurANa ke praNetA mahAkavi puSpadanta kA vyaktitva evaM kartRtva hI aisA camatkArI thA ki paravartI 5-6 sadiyoM ke aneka mahAkaviyoM-hariSeNa (987 I.) vIra (1019 I.), nayanandI (1050 I.), kanakAmara (1060 I.), zrIcandra (1066 I.), devasena-gaNi (1075 I. ke AsapAsa), paM.lAkhU (1218 I.), dhanapAla, vAgbhaTa evaM raidhU (16 vIM sadI) dvArA unakA sAdara smaraNa kiyA jAtA rhaa| inake atirikta bhI AcArya hemacandra (12vIM sadI) ne apanI rayaNAvalI (dezInAmamAlA) meM abhimAnacihna nAmake eka dezI-kozakAra kA ullekha kiyA hai| bahuta sambhava hai ki abhimAna-cihna-upAdhidhArI inhIM puSpadanta ne usa dezI-zabdakoza-grantha kA praNayana kiyA ho? vartamAna meM yaha grantha anupalabdha hai| jIvana-vRtta, racanA-kAla evaM racanA-sthala __ tiSaTThi mahApurANa kI Adya-prazasti ke anusAra puSpadanta ke pitA kA nAma kezava bhaTTa tathA mAtA kA nAma mugdhAdevI thA (1/3) / apane janmakAla se ve zaivadharmI the kintu bAda meM jainadharma se prabhAvita hokara ve jainadharmAnuyAyI bana gye| ve kAzyapa-gotrIya-brAhmaNa the| unhoMne krodhana-saMvatsara arthAt zaka-saMvat 887 (965 I.) meM tisaTTimahA. ke lekhana-kArya kI samApti (102/14) tathA apane jasaharacariu-kAvya kI racanA mAnyakheTa-nagara meM usa samaya kI thI, jaba vahA~ bhayaMkara lU arthAta uccatama tApamAna nagara ko jhulasA rahA thaa| vaha zak-saMvat 894 (872 I.) kA varSa thaa| puSpadanta zaka-saMvat 997-894 (965-972 I.) taka mAnyakheTa-nagara meM rahe the| mahAkavi kI zArIrika sNrcnaa| kAvya-pratibhA kI dRSTi se puSpadanta jitane AkarSaka, sundara evaM sarasa the, zArIrika dRSTi ve utane hI kurUpa, kAle, dhUli-dhUsarita, naraveza meM carmAcchAdita DhU~Tha ke samAna, bAlacandra ke samAna kSINakAya tathA balkala-cIravastradhArI the| yaha saba hote hue bhI unakI sundara evaM dhavala daMta-paMkti unake nAma ko sArthaka karane vAlI thii| puSpadanta - 188

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ne tuDiga-nareza ke gRhamantrI nanna kI preraNA se unhI ke Azraya meM mAnyakheTa meM rahakara hI NAyakumAra=cariu (nAgakumAra-carita) kI bhI racanA kI bhii| mAnyakheTa meM Ane ke pUrva puSpadanta ne kisI bhairavarAja nAmake rAjA ke Azraya meM rahate hue usakI prazasti meM kisI eka prazasti-grantha kI bhI racanA kI thI (tisaTTimahA. 1/3/ 10-11) kintu yaha racanA anupalabdha hai| zivasiMha ne kavi-puSpakRta jisa dohA-zailI meM likhita alaMkAragrantha kI racanA kI carcA kI hai, vaha bhI adyAvadhi anupalabdha hai| puSpadanta ke tIna aparanAma bhI milate hai - gandharva-kavi evaM kusumadazana, jabaki tisaTTimahApurANa meM puSpadanta ne svayaM apane ko khaNDakavi puSpadanta bhI kahA 1/6/1) ra kI TD pathya para vicAra kiyA Da-kAva vizaSaNa kA sAyakatA kyA rahA hAgA isa tathya para vicAra kiyA jAnA Avazyaka hai| mahAkavi puSpadanta kI saMgharSa-kathA tisaTThimahApusiguNAlaMkAru-grantha kA prAraMbha mahAkavi ne bar3I hI rocaka, mArmika evaM aupanyAsika-zailI meM kiyA hai| unhoMne eka zaivadharmI rAjA-bhairavarAja (1/3/10-11) kI rAjya-sabhA meM apamAnita hokara dekhate hI dekhate kucheka kSaNoM me rAjya-sImA ke bAhara nikala jAne kA saMkalpa kiyA / ve calate -calate mAnyakheTa-nagara ke bAhirI jaMgala me Akara eka vRkSa ke nIce vizrAma karane lge| apane svAbhimAna kI surakSA ke liye unhoMne kitane kaSTa sahe, bhUkhe-pyAse rahe, valkala-cIrI rahe aura dharatI para sote rhe| aadi-aadi| bha. sanmatinAtha ko namaskAra kara tathA sarasvatI -devI kA smaraNa karate hue ve rAjAdhirAja tuDiga (mahA.1/ 3) dvArA zAsita melapATi (mAnyakheTa) nagara ke bAhirI upavana meM eka vRkSa ke nIce jaba hAtha kA tAkiyA lagAye cintita-mudrA meM leTe hue the, usI samaya ammaiyyA evaM indrarAja nAmake do saMvedanazIla pAthikoM ne unheM (puSpadanta ko) zithila evaM cintita mudrA meM dekhA, to vinamratA-pUrvaka unase nivedana kiyA ki Apa isa melapATi(mAnyakheTa) nagara meM calakara vinamra evaM udAra tathA zubhatuMga-deva ke mahAmAtya-bharata ke zubhatuMga-bhavana (nAmake rAjA-nivAsa) meM nivAsa kyoM nahIM karate ? (de. 1/2-3) yaha sunakara puSpadanta ne una donoM pathikoM ko kodhAveza meM bharakara jo pratyuttara diyA, vaisA uttara vizvasAhitya ke itihAsa meM dUrabIna se khojane para bhI zAyada hI kahIM mila ske| una pathikoM ne mahAkavi ke vacanoM ko zAntipUrvaka sunA, usake svAbhimAna tathA krodhAkula-bhAvanA meM antagarbhita kisI svarNima bhaviSya kI kalpanA kI aura zAsaka-zubhatuMga tathA usake mahAmAtya bharata kA guNagAna kara unhoMne use prabhAvita kara liyA aura usa abhimAnameru mahAkavi (puSpadanta) ko ve donoM pathika mahAmAtya bharata ke rAja-nivAsa- 'zubhatuMga-bhavana' meM le aaye| bharata ne bhI atyanta pramudita hokara kavi ko aparimita snehAdara dekara sadA-sadA ke lie use apanA banA liyaa| -- 189 - =

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mahAkavi kI janmasthalI yaha Azcarya kA viSaya hai ki puSpadanta ne apane AzrayadAtAoM, samakAlIna zAsaka tathA anya viSayoM kI carcA to kI kintu apanI janma-sthalI ke viSaya meM koI spaSTa saMketa taka nahI diyaa| puSpadanta sAhitya meM kvacitakadAcit prayukta samakAlIna marAThI tathA kannar3a zabdoM ko dekhakara kucha vidvAn puSpadanta ko mahArASTra athavA karnATaka-pradeza kA nivAsI hone kA anumAna karate haiN| suprasiddha itihAsakAra paM. nAthUrAma premI ke anusAra puSpadanta prAcIna barAra (vidarbha) ke nivAsI rahe hoMge, jo ki marAThI-bolI kA prasiddha janapad mAnA jAtA rahA hai| puSpadantasAhitya ke vizeSajJa DaoN. pI.ela. vaidyA (pUnA) tathA pro. hIrAlAla jaina ne premI jI ke ukta kathana ko mAnyatA pradAna kI hai| isase yaha vidita hotA hai ki mahAkavi puSpadanta rohaNakheDa (vidarbha, mahArASTra) ke nivAsI the| AzrayadAtA mahAmAtya bharata kI vinamratA evaM ananya snehAdara ne puSpadanta ke krodhI evaM ahaMkArI svabhAva ke liye tIkSNa aMkuza kA kArya kiyaa| yahI kAraNa hai ki unake nivedana para kavi ne apane grantha-praNayana kA kArya prArambha kiyaa| mahAkavi puSpadanta ne tisaTThimahA. kI Adya-prazasti (1/3) meM melapATI (mAnyakheTa) nagara ke vIra parAkramI rAjA tuDiga kI carcA kara usake mahAmAtya bharata ke parAkramI hone tathA usake sadguNoM kI carcA kI hai| unhIM ke Azraya meM rahate hue tathA unhI kI preraNA se kavi ne tisaTThi mahA. tathA jasaharacariu kI racanA kI thii| bharata kA putra nanna bhI apane pitA ke samAna hI susaMskRta vidyAvyasanI evaM kaviyoM ke prati Adara-bhAva rakhane vAlA thaa| bharata kI mRtyu ke bAda vaha tuDiga-nareza kA gRhamantrI bhI thaa| usakI preraNA se puSpadanta ne NAyakumAra-cariu kI racanA kI thii| nanna kI udAratA, vinamratA evaM snehAdara se puSpadanta itane prabhAvita the ki unhoMne likhA hai ki - 'nanna jaisA vizva meM anya dUsarA sajjana vyakti nahIM mila sktaa|' yathA - NaNNu ji aNNu Na (NAya.1/3/13) nanna kI sAhityarasikatA se prabhAvita hokara puSpadanta ne apane jasaharacariu ko nanna kA karNAbharaNa (karNa kA kuNDala) kahA hai| tathA - NaNNa-kaNNAharaNa (NAya. 1.4 puSpikA) adhyayanazIlatA evaM vinamratA ___puSpadanta ke sannikaTa-pUrvavartI chakkhaMDAgama evaM kasAyapAhuDa-suttoM para dhavala evaM jayadhavalA (mahAdhavalA TIkA kA ullekha nahIM) TIkAoM ke TIkAkAra vIrasena svAmI, unake paTTaziSya tathA jaina-purANa-sAhitya ke AdyagranthakAra mahAkavi jinasena evaM guNabhadra hue, jinake granthoM kA adyayayana karane kA suavasara mahAkavi puSpadanta ko milA thaa| isake saMketa puSpadanta ne tisaTThimahApurANa kI Adya-prazasti meM diye haiN| mahAkavi puSpadanta ne apanI grantha-prazastiyoM meM Atma-paricaya ke prasaMgoM meM apane ko alpajJa, mandamati evaM guru-vANI-vihIna kahA hai| vastutaH yaha unakI sarasvatI-devI ke prati ananya-bhakti evaM vinamratA, pUrvavartI -- 190 -

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AcArya-lekhakoM kI apUrva-sAdhanA evaM divya-pratibhA ke prati nirahaMkArI-vRtti tathA sammAna-pradarzana kI bhAvAbhivyakti hI hai| kyoMki unakI tisaTTimahA. kI Adya-prazasti (1/9) se vidita hotA hai ki unhoMne akalaMka, kapila, kaNAda, dvija, sugata, indra (cArvaka) ke aneka naya-siddhAntoM kA adhyayana, dattila evaM visAhila dvArA racati saMgIta-zAstra, bharata-muni kRta nATyazAstra kA bhI adhyayana kiyA thaa| itane vizAla evaM jJAna-vijJAna samanvita pUrvAcAryoM ke zAstra-sAhitya kA adhyetA yadi apane ko alpajJa aura mandamati kahe, to yaha usakI pUrvavartI sAhitya-sAdhakoM-lekhakoM ke prati vinayazIlatA hI hai| yathArthataH to unakI kAvya-zakti aura caturvidhaanuyogoM ke jJAna kI prauDhatA kA darzana anyatra durlabha hI hai| isake viparIta puSpadanta ne apane liye jina abhimAnameru, abhimAnacinha, kAvya-pizAca, kavikulatilaka, jaise upAdhi-cinhoM se yukta kiyA hai, ve kevala una niraMkuza, vAtsalya-guNa vihIna, garvIle zAsakoM ke liye the, jo sAhitya-sAdhakoM aura mahAkaviyoM ke prati Adara-sammAna kA bhAva nahIM rakhate the tathA unheM dIna-hIna sevaka, cATrakAra aura pichalagga samajhate the| bhASA tisaTTimahA. kI bhASA sAhityaka apabhraMza hai| usameM dezI-zabdoM arthAt bharata muni ke nATyazAstra (17/ 48) ke anusAra vibhinna dezoM prAntoM kI boliyoM meM prayukta zabdoM tathA prasaMgAnukUla dhvanyAtmaka zabdoM ke prayoga bhI yatra-tatra milate haiN| udAharaNArtha jheMdua (1/16), kaMdua (2/18), seriha (2/18), mahisa (2/18) chuDuchuDu (2/19), jaise dezI-zabda tathA jhaMjhA (3/20), jhalajhalai (3/20), gulagulaMta (78/17) jaise aneka dhvanyAtmaka zabda prayuktata hai| kAvyAtmaka varNana-prasaMgoM meM sAhityaka-apabhraMza kA rupa eka-sadRza tathA sarala varNana-prasaMgoM meM apekSAkRta sarala apabhraMza rupa milate haiN| kahIM-kahIM to vaha itanI sarala hai ki usakA Adhunika hindI meM bhI yathAvat zabdAnuvAda kiyA jA sakatA hai| ___ puSpadanta kA yuga saMgharSa kA yuga thaa| unake pUrva aneka videziyoM ke AkramaNa ho cuke the| unake bhArata meM Agamana se bhASA evaM saMskRti bhI prabhAvita huI thii| aneka videzI zabda dugdha-zarkarA kI bhA~ti sthAnIya bhASAoM meM dhula-mila gaye the| sAhityika racanAe~ bhI unase achUtI nahIM raha gaI thiiN| tisaTTimahA. svayaM usakA eka udAharaNa hai| usameM prayukta kucha videzI zabdoM ke udAharaNa dRSTavya hai| aMgutthala (=aMgUThI, mudrikA) 4/9/7, 31/13/13/, 32/14/6 aadi| ukta zabda mUlataH phArasI zabda hai, jo aMguSTarI zabda se saMskRta meM aMguSTha (aMgUThA) ke rUpa meM pracalita ho gayA tathA jo prAkRta-apabhraMza meM aMgutthaliya, aMgutthala arthAt aMgulI kI mudrikA ke rupa meM prayukta hone lgaa| -- 191 -

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TivilA-TivilI (=eka vAdyayantra)-4/11/3, 17/3/5 (vartamAna-kAlIna carmAcchAdita vAdyavizeSa-tabalA ke samAna eka vAdya-vizeSa-) yaha zabda arabI-bhASA kA pratIta hotA hai, jisameM use 'tablA' kahA jAtA hai, jo saMgIta ko sumadhura banAne tathA gAyaka ko bIca-bIca meM vizrAma dene ke lie bajAyA jAtA hai| pIlu (=hAthI)- 2/18/3, 4/4/11, 9/4/2, 9/25/12, Adi yaha zabda sambhavataH arabI evaM phArasI ke pIla zabda se AyAtita hai| urdU meM ise pIlU kahate hai jisakA artha hAthI hotA hai| yaha zabda samarAiccakahA (8vIM sadI) tathA yazastilakacampU (somadevasUri, 10vIM sadI) meM bhI isI artha meM prayukta hai| pIluvAla (gajendra, airAvata) 14/8/3 sambhAvataH yaha zabda bhI arabI-phArasI se AyAjita hai| drAviDIzabdoM meM huDakka (vAdya-vizeSa) 3/10/4, soNarI (zrRgAlinI) 20/21/1 TaMDA (pArTI, sammelana) 14/22/8, tathA - kannaDa-zabdoM meM kuDuva (=nagADA bajAne vAlI lakar3I) 4/10, akkA (=mAtA) akke (bar3I bahina) 16/25/12, addA (Adarza darpaNa) 90/3/14, ammA (mAtA, vRddha-mahilA), 69/27/1 jaise zabdoM ke prayoga milate hai| tisaTTimahA. meM kucha zabdAvalI to aisI prayukta hai, jo Aja bhI thor3e se sthAnIya prabhAva ke sAtha sAmAnya janatA ke dvArA dainika kAryoM meM prayukta hai| yathA - sAr3I = (sAr3I, zATikA)-12/5/3 cukka = (cUkanA) 4/8/5 toMda = (bar3A peTa) - 20/23/3 jhaMpa = (jhaMpI lenA, ardhanidrA) 12/12/5 DhaMka = (DhaMkanA) - 1/13/10 DaMkiya = (DaMkamAranA, kATanA) 30/12/8 rahaTa = (raha~Ta, arahaTa-jalayantra) 27/1/4 bhalla = (bhalA, bhadra) 4/5/7 haTTa = (hATa-bajAra) 1/16/1 caDa = (caDhanA) 2/16/17 lukka = (lukA-chipI, chipanA) 9/14/12 / Dolla = (DolanA) 4/18/2, 15/18/3 Dhilla = (DhIlA, zithila) 32/3/5 buDDa = (bUDanA ) 2/19/4 bhiDia = (bhir3a jAnA, jA TakarAnA) 17/1/1 gilla = (gIlA, bhIMgA) 33/11/11 bhukka = (bhauMkanA, cillAnA) 1/8/7 chikka = (chIMka) 26/4/2 Dara = (Dara, bhaya) 25/8/9 jokkha = (jokhanA, taulanA) 4/5/5 caMga = (caMgA, acchA) 9/4/14 jevai = (jImanA, bhojana karanA) 18/7/11 DAla = (DAla, zAkhA) 1/18/2 . pAhuNa = (pAhunA, atithi) 24/10/7 bolla = (bolanA) 8/5/17 Adi-Adi - 192 -

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ukta prAyaH sabhI zabda yatkicita, sthAnIya uccAraNa-banAne kI dRSTi se prabhAvita hokara marAThI, paMjAbI tathA prAyaH samagra hindI bhASA-bhASI kSetra meM Aja bhI prayukta hote haiN| varNana-prasaMgoM ko sajIva aura rocaka tathA geya banAne kI dRSTi se puSpadanta ne dhvanyAtmaka zabdoM ke prayoga bhI pracura mAtrA meM kiye haiN| unhoMne vastuoM kA sAkSAtkAra kara tathA unakI dhvani ko sAkAra banAne kI dRSTi se tadanukUla dhvanyAtmaka-zabdoM kA nirmANa kara unake prayoga kiye haiN| sarala varNana-zailI __mahAkavi puSpadanta kI varNana-zailI kI vizeSatA hai ki ve kisI bhI jaTila viSaya ko saralatama bhASA-zailI meM sarvagamya banA dete haiN| dharma zabda kI vyakhyA dekhiye, unhoMne praznottarI-zailI meM kisa prakAra prastuta kI hai| koI bhakta-sAdhaka eka munirAja se prazna karatA hai ki mahArAja mujhe samajhAiye ki dharma kyA hai ? yathA - bhakta sAdhaka kA prazna munirAja kA uttara pucchiyau dhammu jaivarijai jo sayala: jIvahaeN daya kri|| jo aliyapayaM puNu pariharai jo saucce rai karai / vajjai adattu Niya piyara vaNu jo Na ghivai parakallatte NayaNu / je parahaNu tiNasamANu gaNai jo guNavaMtau bhattie thuNai / evai~ dhammaho aMgaI jo pAlai avihagai / jo ji dhammu siri tuMgai aNNu ki dhammu hoi siMgaI ? prazna - munipravara se bhakta ne pUchA ki - dharma kyA hai ? taba munipravara uttara meM kahate haiM - dharma vahI hai, jisameM samasta choTe-bar3e jIvoM para dayA kI jAya aura asatya -vacana kA parihAra karake jahA~ sundara priya hitakArI satya sambhASaNa kiyA jAya / jahA~ binA dI huI koI bhI vastu grahaNa na kI jAya aura jahA~ parastrI kI ora A~kha uThAkara bhI na dekhA jAya, (jo svadAra-santoSI ho), jahA~ parAyA dhana tRNa ke samAna mAnA jAya, aura jAhA~ guNavAnoM ke prati Adara-sammAna tathA bhaktibhAva ho, ye hI dharma ke aMga haiN| jo inakA avadhagati se pAlana karatA hai, vahI dharma hai aura kyA dharma ke sira meM bar3e-bar3e sIMga lage hote hai, jo dikhAI deM? bhakta punaH prazna karatA hai ki dharma pAlana karane kI AvazyakatA kyoM hai ? to kavi usake uttara meM kahatA hai - varajuvai vatthabhusaNa saMpatti hoi dhammeNa / arthAt sundara yuvati, mUlyavAn-vastrAbhUSaNa Adi sampatti kI prapti dharma se hI hotI hai aura - - 193

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dhammeM viNu Na atthu sahijai taM asakku Niddhammu Na jujai / arthAt dharma ke binA artha-dhana kI sAdhanA nahIM ho sktii| ataH Asakta hokara dharma kiye binA koI yojanA nahIM karanI caahiye| ___ kavi kI yaha praznottarI-zailI samrATa azoka ke prathama stambhalekha tathA AcArya siddhasena-divAkara kI dharma viSayaka praznottarI-zailI kA smaraNa dilAtI hai| vastutaH varNana-zailI kA vaiziSTya yahI hai ki pANDitya-pradarzana kiye binA bhI gUDha-viSaya ko isa paddhati se varNita kiyA jAyA, jise alpamati vAlA bhI sahajatA se samajha ske| puSpadanta ne yahI kiyA hai| yuddha kA niSedha nahIM - ghora ahiMsAvAdI mahAkavi puSpadanta ne zrAvakoM ko yuddha karane kA niSedha kabhI nahIM kiyA, vazarte ki vaha mA~-beTI -bahinoM ke zIla kI surakSA, deza kI AtatAiyoM se surakSA evaM dIna, anAthoM kI surakSA ke nimitta kiyA gayA ho| kavi kahatA hai - raNu caMgau dINapariggaheNa sayaMNattakusajaNaguNagaheNa / porisu saraNAgaya sakkhaNeNa dukkha vi caMgau sutaveM kaeNa / chanda-prayoga tisaTThi mahApurANa meM vibhinna chaMdoM ke prasaMgAnukUla prayoga kiye gaye haiN| chanda kI ikAI kaDavaka hai, jinameM apUrva saMgIta evaM laya samanvita hai| pratyeka kaDavaka meM pratyeka paMkti ke do caraNoM ko pUrNa chanda mAnakara prayoga kiyA gayA hai| sandhi ke prArambha meM prAyaH sarvatra eka dhuvaka kA prayoga milatA hai, jo duvaI yA ghattA canda meM milatA hai| isa dhuvaka meM sandhi meM prAsaMgika kathA kA sUtra saMketa rahatA hai| antyanupAsa kA prayoga sabhI kar3avaka-chaMdoM meM niyama se milatA hai| cAhe ve mAtrika-chanda ho athavA vrnnik-chNd| sabase laghu chanda pA~ca mAtrAoM kA milatA hai (tathA-sandhi 56/9) / AcArya hemacandra ne apane chandonuzAsana nAmaka grantha meM ise revakA-dvipadI ke nAma se abhihita kiyA hai| sabase dIrgha canda daMDaka hai, jisakA pratyeka caraNa 88 mAtrAoM kA hotA hai| yathA - 89/5/11 tisaTTimahApurANa meM adhikAMza chaMda mAtrika haiM tathA ve saMgIta evaM laya se yukta haiN| mahAkavi ne ekAdhika sthala para usake prati apanA AkarSaNa bhI vyakta kiyA hai| tathA - kai kavvu va kayamattApamANu - 73/29 puSpadanta ne prastuta racanA meM sAmAnya varNana karane tathA kathA-kathana ke liye pajjhaTikA yA anya catuSpadI vAle chandoM ke prayoga kiye haiN| yuddha-prasaMgoM tathA varSA-prasaMgoM meM usane bhinna-bhinna prakAra ke chandoM ke prayoga kara varNya-viSaya kA sajIva citraNa karane kA prayatna kiyA hai| - 194

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tisaTTimahApurANa meM vArNika-vattoM kI bhI kamI nahIM kintu inameM vizeSa navInatA dikhAI nahIM pdd'tii| isa prayoga meM antyanuprAsa kA dhyAna rakhA gayA hai| gaNoM ke nizcita krama meM kucha parivartana nahIM milatA / ina vRttoM ke prayoga ke rupa meM puSpadanta ne saMskRta kI chaMdazailI ko apanAyA hai| kintu yahA~ yaha dhyAtavya hai ki prastuta racanA meM varNavRttoM kI adhikatA hai| paddhaDiyA-zailI meM jo varNavRtta mila sakate the, unako hI puSpadanta ne apanAyA hai| isIliye eka-gaNa ke chandoM kA kahIM prayoga nahIM miltaa| do-gaNa tathA tIna-gaNa ke chandoM kA prayoga bhI kama milatA hai| cAra-gaNa ke samacatuSpadI-chandoM kA prayoga dvipadI ke samAna huA hai| alaMkAra-vidhAna lakSaNa-zAstriyoM ke anusAra kavi apane-apane kAvya ke rasoM aura bhAvoM ke utkarSa kI abhivRddhi ke lie vibhinna prAsaMgika alaMkAroM ke prayoga karate haiN| rasasiddha kavi kahIM to kisI bhAva athavA dRzya kA sAdRzya dikhalAne ke liye, to kahIM kisI guNa-vizeSa ko saMvedanIya banAne ke liye, kahIM sambhAvanAoM ko pradarzita karane ke liye aura kahIM camatkAra kI sRSTi karane, sAtha hI apanA pANDitya pradarzana karane hetu bhI vibhinna alaMkAroM ke prayoga karate haiN| mahAkavi puSpadanta ne prastuta racanA meM vibhinni prasaMgoM meM vibhinna alaMkAroM ke prayogoM meM apanI kAvya-pratibhA kA camatkAra to pradarzita kiyA hI, sAtha hI alaMkRta kAvya-lekhaka ko hI sukavi evaM alaMkAravihIna kAvya-lekhaka ko kukavi kI saMjJA taka pradAna kara ddaalii| eka dUsare sthala para mahAkavi ne kahA hai ki sukavi kA kAvya-viveka alaMkAroM kI kAnti se yukta hotA hai| yathA - sAlaMkAru kaMtii sAhiu kavva-viveu NA' para kaiyANi / - (tisaTTimahA. 68/5/13) jahA~ taka arthAlaMkAroM kA prazna hai puSpadanta -sAhitya ko dekhakara aisA pratIta hotA hai ki puSpadanta ko sAdRzyamUlaka-alaMkAra sarvAdhika priya haiN| aneka sthaloM para kavi-paramparA dvArA prayukta aprastutoM ke atirikta usane (puSpadanta ne) navIna aprastutoM kA bhI prayoga kiyA hai| yaha tathya nimna udAharaNoM se spaSTa hai : taM NaraNAhe vayaNu samatthiu khiccau uppari ghiu omatthiu / arthAt rAjA (bajrajaMgha) ne usake (bajravAhu ke) kathana kA samarthana (24/11) isa prakAra kiyA, mAnoM khicar3I ke Upara ghI DAla diyA gayA ho| isI prakAra eka anya prasaMga meM puSpadanta ne yamunA nadI evaM vRddhAvasthA kI jhuriyoM kA sAdRzya isa prakAra vyakta kiyA hai| mahi maya -NAhi raiyarehA iva bahutaraMga jara-haya-dehA iva / (25/2) arthAt yamunA nadI pRthvi para mRga-nAbhi-kastUrI kI rekhA ke sadRza hai aura usakI aneka taraMgeM vRddhAvasthA kI jhurriyoM ke sadRza hai| yauvana evaM pake phala kI sAdRzyatA kA pradarzana dekhiye - -- 195 -

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viyalai jovvaNu Na karayalajalu NivaDai mANusuNaM pikkau phalu (7/1/8) arthAt aMjulI ke jala kI bhA~ti yauvana vilita hotA ratahA hai tathA pake hue phala kI bhA~ti manuSya nipatita hotA hai| isI prakAra ke ukti-vaicitrya 27/1, 31/10, 32/20, 93/6 Adi sthaloM para bhI dekheM jA sakate haiN| rasAvataraNa - purANa-sAhitya meM prAyaH pariNaya-sambandhoM yA para-deza yA zatru-vijaya ke nimitta yuddhoM ke varNana kiye gaye haiN| isa prakAra ke prasaMgoM me vIra-rasAtmaka sthaloM ke sAtha hI madhyAnta meM bIbhatsa-rasa kI yojanA bhI kI gaI hai| (52/2, 77/12 aadi)| karuNa-rasa ke vyaMjaka aneka mArmika prasaMga bhI tisaTThimahA. meM upalabdha hote haiN| jaise rAvaNa kI mRtyu para usake parivAra vAloM kA karuNa-krandana, kRSNa kI mRtyu para baladeva kI karuNAjanaka sthiti Adi kA citraNa karuNarasa ke mArmika udAharaNa haiN| tisaTThimahA. meM pradhAna bhAva hai nirved| zalAkA-mahApuruSoM (yathA-tIrthaMkaroM evaM cakravartI rAjAoM) ko sarvaprathama sAMsArika sukha-bhogoM meM Asakta citrita kiyA jAtA hai| tatpazcAt koI prasaMga-vizeSa upasthita kara unheM unhIM sAMsArita sukha-bhogoM kI kSaNikatA kA AbhAsa karAyA jAtA hai| isake bAda ve nirmamatA pUrvaka gharaparivAra, rAjya pATa Adi kA tyAgakara kaThora tapazcaryA meM lIna hokara svarga, mokSa-gati prApta karate haiN| isa prakAra prastuta tisaTTimahA. meM pramukha carita-nAyakoM kA citraNa zAntarasaparyAvasAyI hai aura kavi ne isa zAntarasa ke sahAyaka aneka nIrasa paurANika zailI meM racita kAvyarasahIna prasaMgoM kI sRSTi kI hai| lokoktiyA~ tisaTThimahA. meM bhI aneka aisI lokapriya lokoktiyA~ upalabdha haiM jinase paravartI aneka kavi prabhAvita hI nahIM hue apitu unakA rupAntaraNa kara unheM apanI-apanI racanAoM meM bhI prayukta kiyaa| unake kucha udAharaNa yahA~ prastuta haiM - dhoyaMte duddhau pakkhAlau hoi kahimi - dUdha se hone se bhI koyalA kahIM ujalA ho sakatA hai? iMgAlu Na dhavalau-7/8/22 bhaNu ko kayaMta daMtaMti vasiu-12/17/8 - yama ke dA~toM ke bIca bhalA koI jIvita raha sakatA hai ? uTThavi suttau sIhu keNa - 12/17/6 - sote hue siMha ko kauna jagAve? maNa bhaMgi varu maraNu Na jIviu - 16/20/8 - svAbhimAna ke bhaMga hone para mara jAnA hI uttama hai| karamaya kaNayavalaya paviloyaNiho kiM Niyai dappaNaM. 52/8/2 ___- hAtha-kaMgana ko ArasI (darpaNa) kyA ? - 196

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kucha aisI bhI lokoktiyA~ haiM, jinase mahAkavi gosvAmI tulasIdAsa jI bhI prabhAvita pratIta hote haiN| udAharaNArtha - kiM tellu viNiggai vAluyahi-23/7/13 - kyA bAlu se tela nikala sakatA hai ? tulanA-tulasI-vAri mathe ghRta hoi varu - mAthe para likhe ko kauna miTA sakatA hai? sikatA teM varu tela ko taM pusai NiDAlai lihiyau 24/8/8 tulasI-vidhi kA likhA kauna meTanahArA karayala kaMtiharu paMkeNa paMku kiM dhuppai-79/7/14 - kIcar3a bhare hAtha se kahIM dhUli dhula sakatI hai ? tulasI - chUTahi mala kiM malahi ke dhoe samakAlIna saMskRti evaM samAja ___ puSpadanta-sAhitya kA adhyayana karane se yaha spaSTa vidita hotA hai ki apanI kAvya-pratibhA se puSpadanta jahA~ varNya-kathAnakoM ko vividha alaMkAroM se sajAkara vibhinna rasoM se pAgakara use sarasa, madhura aura raMga-biraMgA banA dete haiM, vahIM sIdhI-sAdI sarala bhASA-zailI kA prayoga kara ve jana-jana ke kavi hone kA AbhAsa bhI karA dete haiN| unakI sUkSma-dRSTi meM jana-jIvana kA zAyada hI koI pakSa apekSita raha pAyA ho| jaise vivAha - pArivArika jIvana meM vivAha eka atyAvazyaka kArya hai kyoMki usake binA parivAra tathA samAja kA vikAsa sambhava nhiiN| puSpadanta bhale hI avivAhita rahe, kintu samAja evaM parivAra ke madhya rahakara ve usakI AvazyakatA tathA unakI vidhiyoM ko gambhIratA se dekhate rahate the| unhoMne svayaMvara kI carcA to nahIM kI kintu yaha avazya likhA ki pitA apanI kanyA kI sahamati se usakA sambandha taya karatA thA tathA saparivAra vaha zubha-lagna dekhakara vara ke nagara ke bAhirI udyAna meM pahuMca jAtA thaa| vara-pakSa kI ora se usake rukane kI suvidhA sampanna vyavasthA kara dI jAtI thI (jasa. 1/26) / vivAha-maNDapa uttuMga evaM bhavya banAyA jAtA thaa| susajjita maMca para vara-vadhu ko baiThAyA jAtA thA (tisaTThimahA. 27/6) / saje-dhaje ghoDe para use baiThAkara nagara-parikramA karAI jAtI thii| vividha vAdyoM kI dhvani se AkAza gUMja uThatA thA / kabhI-kabhI ratna-jaTita-zivikA meM baiThAkara bhI vara ko ghumAyA jAtA thaa| vara ke mitragaNa nAcate-gAte hue calate the (tisaTTimahA. 88/23/14) / vivAha-saMskAra ke samaya havana bhI hotA thaa| vara jaba kanyA kA hAtha apane hAtha meM letA thA, taba upasthita loga vadhAI-vadhAI kA udghoSa karate the| vara kA pitA kanyA ko a~gUThI pahinAtA thA (jasa. 1/25/25-26) vivAha-sthala para maMgala-kalaza kI sthApanA kI jAtI thii| vara-kanyA ke ghRta-lepana karane kI prathA thii| nRtyAMganAe~ kalApUrNa nRtya kara sabakA manoraMjana kiyA karatI thii|" - 197

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vastrAbhUSaNa rAjanya-parivAroM ko chor3akara sAmAnya janatA kI vezabhUSA sAdI thii| cU~ki puSpadanta dakSiNa-bhArata se sambandha rakhate the, ataH unhoMne vahA~ ke logoM kI jaisI vezabhUSA dekhI thI, usI kI carcA kI hai| vahA~ ke loga sAmAnyatayA raMga-biraMgI eka cauDI kinArIdAra dhotI pahinate the aura eka caddara or3hate the| yaha sambhava isaliye bhI thA ki vahA~ kA jalavAyu samazItoSNa thaa| kucha loga pagar3I bhI bA~dhate the| vyApArI-varga jeba vAlI rui kI baMDI aura aMgarakhA pahinate the| paryaTaka mArko polo jaba vahA~ bhramaNArtha gayA to use Azcarya huA thA ki sile hue kapar3e pahinane kA vahA~ rivAja kama thA, isaliye vahA~ darjI kA kArya karane vAle anupalabdha the| sAmAnya mahilAe~ bar3I-bar3I raMgIna aisI sAr3iyA~ pahinatI thIM, jo AdhI or3hI aura adhI pahinI jAtI thiiN| nRtya-praya mahilAe~ nRtya ke samaya lahaMgA evaM jarIdAra vastra pahinatI thiiN| rAjya-sabhAoM meM gaNikAe~ jhInIjhInI-tanajeva kA kaTivastra pahinatI thiiN| (tisaTTimahA. 73/2-3-6) / sabhI nAriyA~ vividha prakAra ke kezazrRMgAra kiyA karatI thiiN| camelI ke tela kA prayoga kiyA jAtA thaa| sira ke pIche kezoM kA jUDA (jasa. 3/21) vA~dhA jAtA thaa| ve usa jUr3e meM sugandhita puSpoM kI choTI mAlA tathA motiyoM kI lar3eM laTakA letI thiiN| sAja-sajjA karate samaya mahilAe~ mukha para karpUra kA lepa lagAtI thIM (tisaTTimahA. 90/3/13) / manoraMjana ke sAdhana manoraMjana ke sAdhanoM meM bhItarI evaM bAhirI donoM prakAra ke manoraMjaka kheloM ke ullekha milate haiN| bhItarI manoraMcana-sAdhanoM meM zataraMja, caupaDa evaM dyUta-krIr3A ke ullekha milate haiM (tisaTTimahA. 50/9/6 tathA NAya. 3/13/4) / dyUta-gRhoM meM sabhI ko bhAga lene kI svatantratA thii| kintu zAsana kA una para niyantraNa rahatA thaa| juAriyoM se kara (Teksa) bhI liyA jAtA thA (vhii)| bAharI (AuTaDora) manoraMjanoM meM naukAoM dvArA jala-bihAra, varSARtu meM dolotsava (tisaTTimahA. 70/15/8, NAya. 3/8/11, 3/11) cauvANa (caugAna) (tisaTThimahA. 91/16/10) ke ullekha milate haiN| naToM ke khela bhI prAyaH hote rahate the| yathA - ___NaMdiM diTThau NacaMtu NaDu (tisaTTimahA. 82/16/16) saMgIta kI dRSTi se vINA usa samaya kA pramukha vAdya-yantra thA (NAya. 3/5/8) / rAjya-sabhAoM meM isake kAryakrama hote rahate the| yugala-nRtya meM mahilA-puruSa ke eka sAtha nRtya karane ko acchA nahIM mAnA jAtA thaa| balki mahilAmahilA tathA puruSa-puruSa ke yugala-nRtya kI paramparA acchI mAnI jAtI thI jaisA ki puSpadanta ne svayaM likhA hai - viNNi vi NAriu viNNi vi Naravara jai NaccaMti hoti tA maNahara ||-(tisttttimhaa. 32/3/1) - 198 ,

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zikSA kA pracAra - tisaTThimahApurANa ke sandarbho se vidita hotA hai ki usa samaya zikSA kA pracAra acchA thA, vizeSa rUpa se bar3e-bar3e nagaroM meN| mAnyakheTa vidyA kendra thaa| vahA~ ke zubhatuMga-bhavana meM rahakara puSpadanta ne apanA sAhityapraNayana to kiyA hI, sAtha hI unhoMne jisa prakAra pUrvavartI kaviyoM tathA unake granthoM kA ullekha kiyA, usase vidita hotA hai ki usa bhavana meM eka vizAla granthAgAra bhI thA, jahA~ jijJAsu - gaNa kavi evaM saMgItakAra svaruci ke granthoM kA svAdhyAya evaM paThana-pAThana tathA lekhana evaM saiddhAntika evaM prAyogika gAyana kA kArya karate rahate the| (tisaTTimahA. 1/5) / rAjanya-varga kI naI pIr3hI ko saMskRta evaM apabhraMza-bhASAoM kI zikSA pradAna kI jAtI thI (tisaTThimahA. 5/18/6) / upAdhyAya rAjakumAroM ko kAvya, nATya-sAhitya, jyotiSa, saMgIta, aryazAstra evaM kalA Adi kA adhyayana karAyA karate the| isake sAtha-sAtha unheM ghuDasavArI, dhanurvidyA, rAjanIti, khaDga-saMcAlana aura kAnUnanIti kI zikSA bhI pradAna kI jAtI thii|jain-saadhu adhyAtma, AcAra, tathA dharma-darzana kI zikSA pradAna kiyA karate the (jasa. 1/24) / vyapAra-kArya - tisaTThimahA. ke anusAra usa samaya ke vyapArI bar3e samRddha the| ve laMkA Adi dvIpoM se vyApAra karake acchI mAtrA meM dhanArjana kara lauTate the / yathA - laMkAihiM dIvihiM saMcArivi aNNaNNa pasaMDi bhaMDa bharivi / 82/7/2 NAyakumAracariu meM eka samRddha vyApArI kA ullekha AyA hai, jo girinagara jAkara vyApAra kiyA karatA thA (1/15/5-6) kRSi-kArya evaM godhana-pAlana - puSpadanta-kAla meM kRSi-karma unnata avasthA meM thaa| mahAkavi ne deza-varNana evaM nagara-grAma varNanoM ke prasaMga meM isakA aneka sthaloM para sundara varNana kiyA hai| tisaTThimahA. meM mahAkavi ne hare-bhare lahalahAte, vAyu ke jhakoroM se iThalAte hue yava, kaMgu, mUMga, ikSu evaM dhAna ke khetoM kI carcA karate hue godhana-vicaraNa tathA ikSurasa-pAna kara madhura gAna karate hue gvAlAvaloM kA varNana kara grAma-jIvana kA manohArI varNana kiyA hai| samakAlIna lokapriya bhASAe~ - puSpadanta-kAla meM saMskRta, prAkRta evaM apabhraMza ye tInoM bhASAe~ lokapriya thiiN| rAjakumAroM ko ina tInoM bhASAoM kA adhyayana karAyA jAtA thaa| yathA - sakkau-pAyau puNu avahaMsau vittau uppaiu samasaMsau (tisaTTimahA. 5/18/6) - 199.

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loka - vizvAsa samAja meM andha-vizvAsoM kI kamI nahIM thI / usameM bhI jyotiSa kA bar3A mahatva thA / vizeSa rUpa se zanidevatA ke prabhAva kaa| usake doSa se bacAva ke liye loga aneka upAya kiyA karate the| rAjAoM ke yahA~ jyotiSiyoM kA vizeSa mahatva hotA thA / ve unake liye svapna phala kathana (tisaTThi. 9/3813-47), kAryArambha ke lie zubhamuhurta kathana tathA bhaviSyavANI - kathana kA kArya kiyA karate the| (vahI 85/18/8-10) icchita varadAna-prApti hetu kApAlika devI kAtyAyinI kI tuSTi hetu manuSyoM evaM pazuoM kI bali bhI dI jAtI thI (jasa. 1/7/8-10 ) / mahAkavi puSpadanta bhale hI sarvasAdhana sampanna zubhatuMga-bhavana meM rahakara apanA sAhitya-praNayana karate rahe, phira bhI ve apane prArambhika abhAvagrasta jIvana ke kaSToM ko bhulA na sake the| ataH granthAnta meM unhoMne punaH apane una kaSToM kA zrRMkhalA-baddha varNana kara anta meM punaH likhA- 'aba maiM mahAmAtya - bharata ke Azraya meM rahA hU~ aura maiM abhimAnameru, kAvyapizAca- kavikulatilaka viruddhArI puSpadanta apane sAhitya-sRjana sambandhI kArya se sabhI ko pulakita kara rahA huuN|' (tisaTThimahA. antya prazasti) vizva meM mahAkavi to aneka hue haiM aura unheM yaza bhI milA hai| una para vizvavyApI zodha kArya tathA vividha bhASAoM meM unake anuvAda bhI hue haiN| vizvavidyAlayoM ke pAThyakramoM meM bhI unheM sthAna milA isIliye ve lokapriya evaM vizva prasiddha ho ske| isake viparIta mahAkavi puSpadanta ke sAhitya para zodhakArya nagaNya hI huA hai| zvistara ke sAhitya ke sAtha usake tulanAtmaka adhyayana kI ora bhI kisI kA dhyAna nahIM gayA tathA vizvavidyAlayoM ke pAThyakramoM meM bhI use santoSa janaka sthAna nahIM milaa| yahI kAraNa hai ki zreNya-koTi kA yaha puSpadantasAhitya lokapriya nahIM ho sakA aura isa rUpa meM prAcya bhAratIya vidyA kA yaha gauravapUrNa sAhitya tathA rASTrakUTakAlIna sAhitya, saMskRti evaM itihAsa kA mahAn saMrakSaka yaha mahAkavi puSpadanta bhI vizva-vikhyAta na ho skaa| isakA doSa kise diyA jAya ? bhAratIya vizvavidyAlayoM me zeksapIyara, kITsa, vAyarana, varDsavartha Adi mahA - kaviyoM kA adhyayana to karAyA jAtA hai, kintu svayambhU, puSpadanta, vIra, dhavala, dhanapAla jaise mahAmahima kaviyoM kA adhyayana nahIM karAyA jaataa| vastutaH yaha prAcya bhAratIya vidyA kI mahAn kSati hai, jo atyanta durbhAgya pUrNa hai| mahAkavi puSpadanta bhAratIya vidyA ke pramukha aMga - apabhraMza bhASA aura sAhitya ke jAjvalyamAna nakSatra haiN| unakA tisaTThimahApurANa jJAna - vijJAna evaM manovijJAna kA apUrva vizvakoza hai| usakI guNavattA hara kasauTI para kharI utarI hai| ataH mahAkavi puSpadanta kA Atma-vizvAsa - samanvita yaha kathana nissandeha hI sArthaka siddha hotA hai - . kiM cAnyadyadihAsti jaina - carite nAnyatra taddhighate 200 - 1

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sandarbha or r rayaNAvalI (dezInAmamAlA)- 1/44,6/93,8/12 2 tisaTThimahApurANa, 1/3-4, NAyakumAracariu 1/2 3. NAyakumAracariu, 1/2/2 4. dekhe, DaoN. tagAre kA 'sahyAdri' nAmaka mAsika patrikA (apraila 1941) meM prakAzita zodha nibndh| 5. sattama Narai doDDa so paDiyau....... tisaTTimahA. 90/2/10 6. paM. nAthUrAma premI, jaina sAhitya aura itihAsa, pR. 226-228 7. isa viSaya para zrImatI DaoN. ratnA nAgeza zreyAn baMgalora ne vistRta zodhakArya kiyA hai, jo ahamadAbAda se prakAzita hai| usase bhI vistRta jAnakArI prApta kI jA sakatI hai| 8. chandonuzAsana (hemacandra),7/50 9. tisaTTimahApurANa, 14/6/11-12, 16/2/3 10. NAyakumAracariu, 1/18/2, jasaharacariu 1/27 11. tisaTThimahApurANa, 1/14/3-6 -0-0-0 -- 201 - - -201

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24. prAkRta kA Ayurveda sAhitya - eka mUlyAMkana -DaoN. udayacandra jaina Ayurveda cikitsA kA vijJAna' hai, jIvana kI kalA hai tathA yaha mAnava saMracanA ke sarvokRSTa jIvana ke astitva kI rakSA karanevAlA tatva hai / jaisA ki prANavAda pUrva grantha se hI vidita hotA hai ki jinavara ne sabhI bhASAoM ke mAdhyama se jIvana evaM prANoM kI gati Adi bhavoM kA nirUpaNa kiyA thA - / " vaNijjaI gaIbheyA jiNavaradevehi savvabhAsAhiM / ' yadyapi jIvana ke sAtha hI yA mAnava kI utpatti ke sAtha hI Ayurveda kA sambandha jur3A huA hai / mAnava bhUkha-pyAsa, Adi-vyAdhi kI roka thAma ke lie sadaiva hI prayatna karatA AyA hai / prANoM kI rakSA, zakti kI vRddhi Adi ke lie sadaiva prayatna karatA AyA hai / jJAna ke vikAsa ke sAtha AyurvijJAna bhI nae nae anusaMdhAnoM ke sAtha janma letA rahA hai| pANAvAyaM puvvaM terahakoDipayaM NamaMsAmi / jattha vi kAyacikicchA pamuhaTeMgAyuveyaM / / -aMga paNNatti. 107 // jisa Ayurveda meM teraha karor3a padoM se jIvana kI vyAdhiyoM kA kathana hai tathA kAyacikitsA sambandhI ATha pramukha kAraNa jisameM vidyamAna haiM, usa prANAvAda ko maiM namana karatA huuN| isa prANAvAda meM prANoM kI rakSA ke pramukha karma jAgguli prakrama ke sAdhaka, aneka bheda, pRthvI, jala, agni, vAyurUpa tatvoM ke aneka bheda, IgalA, piMgalA Adi prANa, daza prANoM ke svarUpa kA nirUpaNa, prANoM ke upakAraka evaM apakAraka dravya Adi kA varNana hai| pUrva meM jaba lipivijJAna kA vikAsa nahIM huA thA, usa samaya aura lipi vijJAna ke janma lete hI jo kucha sabase pahale hamAre sAmane AyA, vaha prAkRta Agama granthoM ke pannoM para aMkita huA / ___ Agama ke vyAkhyAkAroM ne, 'AyurvijJAna' ke viSaya ko apanI jJAna kalA se Age bar3hAyA / RSimaharSiyoM, yogI-sAdhakoM ne ise adhika gatizIla banAyA / zramaNoM ke sAtha svatantra jAnakAra logoM ke dvArA AyurvijJAna para bahuta kucha apane apane samaya meM likhA gayA / jaina manISiyoM ne jo kucha likhA vaha abhI bhI paryApta khoja evaM anusandhAna ke abhAva meM mAnoM vilupta hI sA prattIta ho rahA hai / jahA~ terahakoTI pada rUpa, 'prANivAda pUrva' grantha kA eka Agama hai, usI kA abhI patA nahIM phira anya likhe gae 'AyurvijJAna' ke granthoM kI upalabdhI kaise khojI jAya / kalyANakAraka nAmaka grantha ko chor3akara anya grantha kahA~ gaye isa para bhI pAryApta anusandhAna kI AvazyakatA hai / abhI abhI 'joNipAhuDa' prAkRta grantha kI prati prApta huI hai / merA yaha vizvAsa hai ki isa prakAra ke prAkRta meM bhI kaI AyurvijJAna ke grantha hoMge / -- 202 -

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AgamoM meM vipAkasUtra meM Ayuvveya- Auvveya (Ayurveda) arthAt, cikitsA zAstra kA nAmollekha hai / * pANAvAya meM 'Ayuveya' zabda kA hI prayoga huA hai / anya AgamoM meM ' tigicchiya' (ThANAMga 4) tigiccha (uttarA.16, piMDaniryukita 215) tigicchiANa tijiMchA (piMDaniryukita 188) teracchia ( vipAkasUtra 1/1/pu.133) osaha. bhesajja ( (upAsakadazAMga ) tigicchA (mUlAcAra452) Adi zabda AyurvijJAna se sambandhita haiM / prAcIna prAkRta AgamoM meM Ayurveda - prAkRta Agama grantha zramaNa saMskRti ke prakAza stambha haiM / ina meM saMskRti ke ve sabhI aMga samAviSTa haiM, jinameM vyavahAra se lekara vairAgya kI samagra vastu kA Alekha hai / Ayurveda kI cikitsA paddhati Adi bhI inameM paryApta hai / ' AcAraMgasUtra ke lokavijaya adhyayana meM. rogAsamuppAyA samuppajaMti (sUtra 82) ke mAdhyama se rogoM kI utpatti ke sthAna kA saMketa kiyA hai / vRttikAra ne isakI vistAra se sUcanA dI hai / sUtrakRtAMga (3/4/10) vipAkasUtra (1/1/pu. 133) jJAtAdharma ( ) upAsakadazAMga ) (pu.2) vyAkhyA prajJapti (pu. 664), dasaveyAliya (3/ 10), sthAnAMga 3/4/14) prAkRta ke ina pramukha granthoM meM Ayurveda sambandhI vivaraNa prApta haiM / SaTkhaMDAgama (4/32), pravacanasAra (2.40) samayasAra (gA. 186) dhava pu. pR. 173, yogazAstra (1/ 38), bhAvapAhuDa (36) tiloyapaNNatti (4/1078), bhagavatI ArAdhanA (1217), mUlAcAra (452), pANAvAya (106), /dhammarasAyaNa (10), kumArapAlacariyaM (gA. 15), uttarAdhyayana (15), gommaTasAra karmakAMDa (57) niyamasAra (gA.6), nizIthacUrNI (18), avAzyakacUrNI (pU. 365) bRhatakalpabhASya, (2) jaMbUdvIpa prajJapti (24), oghAniryukti (368), vyavahArabhAySa (4/1) mahAbaMdha (1 / 8) Adi prAkRta granthoM meM Ayurveda ke ullekha prApta haiM / saMmatabhadra, pUjyapAda, pAtrakesarI, sihnasena, meghanAda, siMhanAda, dasarathamuni, gommaTadeva, pAdalipta, nAgArjuna, dhanaJjaya, durgadeva. jinadAsa, durlabharAja, hemacaMda, guNAkAra, AzAdhara, haMsadeva, campaka, yazaH kIrtimuni, haripAla, mestuMga, siMhadeva, anantadevasUri, nAgadeva, mANikyacaMda, cArucaMDa, zrIkaNTha-sUrI, pUrNasena, jinadAsa, nayanasukha, harSakIrti, jayaratnagaNi, lakSmakuzala, haMsarAja, hastirUci, hemanidhAna, nayanazekhara, mahimasamudra, dharmavardhana, lacchIvallabha, mAnasuni, vinayamerugaNi, rAmacaMda, jJAnameru, nagarAja, jogIdAsa, samaratha, guNavilAsa, lakSmIcaMda, dIpakacaMda, cainasukhayati, rAmavijaya, malukacaMda, sumatidhIra, karmacaMda, haMsarAja, gaMgArAma, jJAnasAra Adi kaviyoM ke kAvyoM meM AyurvijJAna ke kucha tathya upalabdha haiM / dakSiNabhArata ke mArasiMha, kIrtivarmA somanAtha, amRtanaMdi, maMgarAja, zrIdharadeva, vAcarasa, padyarasa, maMgarAja (dvitiya) maMgarAja (tRtIya) Adi kA nAma bhI Ayurveda ke lie prasiddha hai / madhyayuga meM cikitsA zAstra ke lie jaina cikitsA paddhati kA vizeSa avadAna rahA hai, jo saMskRta ke atirikta rAjasthAnI, paMjAbI, gujarAtI, dakSiNa bhAratIya bhASAoM Adi meM haiM / parantu prAkRta bhASA meM eka hI grantha kI sUcanA prApta hai / joNipAhuDa prAkRta kA svatantra grantha hai, jise hariSeNa dvArA racita kahA jA sakatA hai / -203

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'joNi-pAhuDa' prAkRta bhASA kA aba-taka jJAta prathama cikitsA grantha hai / yaha aSThAMga cikitsA paddhati para likhA gayA hai aura do bhAgoM meM vibhakta hai / prArambha ke prathama bhAga meM prazasti bhI hai / prathama joNipAhuDa grantha meM 333 gAthAeM haiM aura dvitIya grantha meM 616 gAthAe~ haiM / dvitIya kI prArambhika 187 gAthAe~ pANDulipi meM nahIM haiM / isa grantha hI sabase bar3I vizeSatA yaha hai ki isameM racanAkAra ne adhikAra kI sUcanA dene ke bAda unase sambandhita roganidAna kI auSadhiyoM kA vivecana kiyA hai / zizu roga se lekara zalya kriyA taka kA bhI kahIM kahIM vivecana hai / auSadhI ke atirikta racanAkAra ne zArIrika Asana Adi kA prayoga karane kA bhI vidhAna kiyA hai / maMtra-taMntra evaM dharma kA bhI kvacita prayoga hai / dvitIya grantha meM svatantra adhikAra kA saMketa nahIM hai , parantu jina rogoM kA vidhAna prastuta kiyA gayA hai, vaha vistAra ko lie usa viSaya ko spasTa karatA hai| cikitsA paddhati - prAkRta sAhitya meM aSTAMga Ayurveda kA ullekha hai / komAra-taNutigiMchA- rasAyaNa-visa-bhUda-khAra-taMtaM ca / sAlaMkiyaM ca salaM tigiMchado so du aTTaviho / - mUlAcAra 452 / / 1. komAra- kaumArabhRtya (zizucikitsA) 2. taNu- kAyacikitsA (jvara, udarazUla, zirovedanA, atisAra Adi) 3. rasAyaNa - (bala/zakti baDhAne vAlI cikitsA) 4. viSa - visatantra ( viSaghAtaka auSadhi) 5. bhUta- bhUtatantra (bhUta- preta kI auSadhi) kSAratantra - (nimba Adi ke pattoM dvArA ghAva ko sApha karanA) ___ zAlakiya (zalAkAkriyA) -zAlAkya (karNa Adi zarIra ke urdhvabhAga arthAta zira ke rogoM kA upacAra) 8. zalya - zalyacikitsA ( injekazana lagAnA, Aparezana karanA) isa prANAvAda grantha meM cikitsA vijJAna ke ATha aMga uparyukta rUpa se nahIM ginAe haiM, parantu svarataMntra para prakAza DAlate hue likhA hai - bhUdIkamma - jaMgulipakkamANA sAhayA pare bheyA / IDA-piMgalAdipANA puDhavI-AuggivAyuNaM // 108 // -204

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zarIra ke vAma bhAga svaraIr3A (iMgAla, dAhine bhAga kA piMgAlA nAma hai / donoM ke eka sAtha calane para suSumnA svara kahalAtA hai / isake pA~ca tatva haiM - 1. pRthvI, 2. jala, 3. agni, 4. vAyu, aura 5. AkAza / zarIra kA kauna sA dravya upakAraka hai aura kauna sA dravya apakAraka hai usakA bhI vivecana isameM hai / prAkRta granthoM meM cikitsA ke ATha prakAroM kA ullekha hai / cikitsA pAda - 1. vaidya 2. vaidyaputra 3. jJAyaka 4. unake putra / vijo vijAputto vA jANago va jANayaputto / teicchio vA teMicchiyaputto vA ikkAiiTakUDassa eesiM solasaNhaM rogaayNkaannN| (vipAkasUtra 1/1/pu. 133) uttarAdhyayana sUtra meM 1. vaidya 2. rogI 3. auSadha aura 4. paricAraka kA ullekha hai - te se tigicchaM kuvvaMti cAuppAyaM / jahAdiyaM(u. 20-23) isake atirika 1. vaidya 2. mantravettA 3. cikitsaka 4. zalyacikitsaka aura 5. anya zAstra bhI cikitsA ke kAraNa haiM / (u.20/22) mUlAcAra meM bhI yahI likhA hai(gA. 41). vejjAdura, bhesajjA, paricAyara-saMyadA jahAroggaM / -1. vaidya 2. Atura 3. bhaiSajya aura 4. paricAraka / isakA adhyAtma pakSa dete hue kahA gayA hai - AcArya vaidya haiM, ziSya rogI hai, bhaiSaja caryA cAritra hai, kSetra, bala, kAla, purUSa Adi roga zAnta karane ke sAdhana haiM / cikitsaka - cikitsaka ko prANAcArya (utta sU. 475), vaidya - (mUlA 642) tegicchiya, tigicchaya (vipAka sU.) nAma se jAnA jAtA thaa| cikitsaka karma - vipAka sUtra meM varNana hai ki vaidya - 'satthakosa hatthagayA' zastrakoSa evaM hasta ke aujAra jisase cIr3a-phAr3a yA zalAkAkriyA yA zalya kriyA kI jA sake aise sAdhanoM se yukta hokara ghara se rogoM ko dekhane nikalate the / ve avazyakatAnusAra vamana,virocana, ubaTana, snehapAna, abhyaMga, avadahana (garbhazalAkA dahana) avasnAna dvArA cikitsA karate the / (auSadhisnAna) jaisA ki joNipAhuDa meM kuSTharoga prakaraNa (gA. 160) meM kahA hai / " tihalA pANeNa sayA prahANe avahaNammi leveNa / pijaha kuTThI ya tahA vAsaya mIsA Na saMdeho // -gA. 170) vaidya pAna, snAna, upavartana, lepa se rogo kA upacAra karate the / cikitsaka zastra prAkRta grantha nizIthacUrNi meM pratakSaNa zastra, aMgulizastra, zirAvedhanazastra, kalpanazastra, lauhaMkaMTakA, saMDAsI, anuvedhana zalAkA, brIhimukha aura sUci kA ullekha milatA hai / (11/ 3436) -205

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roga - AgamoM meM AcAraMgasUtra prathama Agama hai isameM kahA hai 1. gaMDI ahavA 2. koDhI 3.rAyasI 4. avamariya 5. kANiya 6. bhUmiya 7. kuNiya 8. khujjiya 9. udAriM 10. pAMsa 11. mUyaM 12. sUNIyaM 13. gilAsaNiM vevai 14. pIDhasappi 15. silivayaM 16. mahumehaNiM solasa esa rogA / (A. 6/5/172). isa para vRttikAra zIlaMkAcArya ne ina rogoM kI utpatti ke kAraNa bhI nirdriSTa kie haiM jaise - 1. khujjiyaM - kuvar3Apana - "mAtApitRzoNita-zukradoSaNa garbhastha doSo dabhabA : kubja - vAmanakAdaye / " mAtA-pitA ke zoNita evaM zukra ke doSa garbhastha doSa se zizu kubja, vAmana, paMgu, kANA, mUka, Adi hotA hai / roga kA kAraNa aura nidAna - ___ madhumeha/ prameha ke bIsa bheda ginAe haiN| yaha madhumeha kapha ke kAraNa, vAtajvara ke kAraNa utpanna hotA hai / dvitIya zrutaskaMdha kI prathama-culikA ke dvitIya uddesaka meM rogoM ke nidAna kI isa prakAra carcA kI hai "zItodakena vA uSNodakena vA uccholeja tti ISatlocanaM vidaghyAt prakSAlayet / " jvara se pIr3ita vyakti ke lie zItajala se yA uSNajala se prakSAlana kareM usake netroM ko dhoeM / sUtrakRtAMga meM gaNDaroga evaM usakA nidAna bhI diyA hai / isI meM kRSTa roga ke lakSaNa, kAraNa aura upacAra tathA bheda bhI ginAeM haiM / yadi utpala kRSTharoga hai to usakA upacAra agara,tagara,caMdana ke lepa se kareM / lodhR kuMkuma ke lepa se kuSTharoga zAnta hotA hai / sUtra kRtAMga - 3/4/10) vipAkasUtra meM bhasmakavyAdhi kA vistAra se vivecana hai / (vipAkasUtra-158) adhikapAna, adhika bhojana aura adhika vAyu sevana viSa ke samAna haiM (utta. 16/13) / uttarAdhyayana kI sukhabodhA TIkA meM (163) bhI roga ke kAraNa ke sAtha roganidAna ke lie cintA, vamana, virecana, dhUma-pAna nahIM, snAna Adi kI paddhati ko bhI upayogI mAnA hai (utta 15/8) / joNipAhuDa (72) meM (laMghaNa nivAya-sevA uNho ya yUpANa-meyakhaiehiM )laMghana, nipAta (virecena) zuzruSA, usNatA, uddIpana, svedana kiyA se roga upacAra kI vidhi kA bhI vidhAna kiyA hai| auSadhi Amarisa-khela-jallA-mala-viDa-savvA-osahi- pattA / muhadiTTi - NivvisAo aTThavihA ausahI riddhI ||-tiloypnnnntti 4/1078) 1. Amarisa - AmazoSadhi - (zarIra sparza se roga mukti ) 2. khela - kSeloSIdha - (lAra, kapha, akSimala nAsikA mala kI zAnti) 3. jala - jallauSadhi - (svedajala, aMgarAja kI samApti) 4. mala - malauSadhi -( jIbha, oMTha, dAMta, nAsikA, zrotrAdi kA mala) -206

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5. viDa - viTauSadhi - ( zUlaroga, viSThAroga/malasthAnaroga kI zAnti) 6. savva - sarvoSadhi - (jalodara, vAyuroga, romaroga, nakharoga) 7. muha - mukhausadhi -(tiruka, kaTuka, Amla, pita rasa kA zamana) 8. diTTi - dRSTiauSadhi - ( netroSadhi ) (tiloya.pa. 1078.87) rasa - bhagavatI ArAdhanA meM koDhI ke lie ikSurasa (1217) bahuta upayogI batalAya / chabbheyA rasAriddhi AsI-diTTI visA ya do tesuM / khIra-mahu-amiya-sappIsavio cattAri hoti tume // -ti.pa. 1088) 1. AzIviSa 2. dRSTiviSa 3. kSIrasravI 4. madhurasravI 5. amRtasravI aura 6. sarpi sravI . ( vistAra - 1088-1098 taka) cUrNa NottassaMjaNaghuNNaM bhusaNacUNNaM ca gattasobhayaraM / " (mUlAcAra 460) nayA meM netrAJjana, bhUSaNacUrNa, gAtrazobhakara, geru, haratAla bhaSma, khar3iyA.menazila Adi pUrNa kA varNana hai / - mUlAcAra gA.474 / dhavalA pu. 65 ,273 meM yava, godhUma, canA, sattu Adi ke cUrNa kA ullekha hai / dasaveyAliya meM (aMcaNe daMNabaNe gAyAbhaMga, vibhUSaNe / ) aMjana, daMtamaJjana, zarIrazobhA kA gAtrabhaMgacUrNa kA ullekha milatA hai / taila -prAkRta zAhitya ke Agama grathoM cAritagraMthoM evaM kathAdi granthoM meM sahasrapAka taila yA zatapAka taila kA paryApta ullekha milatA hai, jisa ke mAliza karane se zarIra niroga evaM sundara banatA thA / upAsakadazAMga meM ('sagapAgasahassapAgehiM ') satapAka evaM sahasrapAka taila dvArA zarIra kI zobhA bar3hAne kA ullekha hai aura isI meM egeNaM surahiNA gaMdhaTTaNaM ATha sugandhita vastuoM kA bhI ullekha hai / taila ke prakAra - mUlataH zatapAka, sahastrapAka ina do prakAra ke tailoM kA ullekha prAkRta sAhitya meM milatA hai / ATha sugandhita vastuoM ke taila kA koI nAma nahIM hai, phira bhI taila kA eka prakAra yaha bhI hai / mUlAcAra meM sagandhita taila kA ullakha hai / (mUla. 838) bhojana kA pathyApathya - bhojana zarIra ke lie anivArya evaM Avazyaka mAnA gayA hai / bhagavatI ArAdhanA kI gAthA dRSTavya hai - akaDumatittamaNaMvilaM ca akasAyamalavaNamamadhuraM / avirasa madurabhiMgadhaM acchamaNuNhaM aNadisIMdaM // -bha A. 1485 // akaTuka, Atika, anAmla, akaSAya, alavaNa, amadhura, avirasa, adurabhiMgadha, svaccha, na garma aura na ThaNDA ho, vaha bhojana zarIra prakriyA meM bAdhaka nahIM hotA hai / uttarAdhyayana meM (16/12) adhika bhojana aura arasa - 207 -

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bhojana ko roga kA kAraNa mAnA hai / pravacanasAra meM TIkAkAra (pu. 284) ne adhika bhojana ko unmAda kA sUcaka ghoSita kiyA hai / ekavAra, alpa bhojana, rasa sahita evaM madhu-mAMsa Adi se rahita bhojana zarIra ko svastha banAtA hai| ( pravacanasAra 26,30) jau nAmaka anna peTa meM vAyu bar3hAtA hai . (pravasA. 2/40) samayasAra (gAthA naM 341) meM bhI pathyApathya bhojana kA ullekha hai / madhura hai aura kaunasA bhojana kaTuka hai isakI jAnakArI dI hai / (pR. 300) samayasAra meM madya ko zarIra ke lie hAnikAraka kahA hai |(sm.205) prANa tatva - jIva haiM isalie ve sabhI prANavAna haiM / unakI indriyA~, AkAra-prakAra zakti, Ayu bhI hogI / ve zvAMsa lete haiM ; zvAMsa chor3ate haiM / pANehiM caduhiM jIvadi jIvassadi jo hi jIvido puvvaM / ( pravacanasAra 2/55) prANoM se jIva jIvita haiM, jItA hai aura Age bhI jIvana ko dhAraNa karatA rahegA / zarIra saMracanA - AgamavettA, siddhAntajJAtA jIvana kI samagratA jAnate the, unake jJAna meM siddhAnta thA aura vijJAna bhI / zarIra sambandhI vijJAna kA prarUpaNa Agama siddhAnta granthoM meM sarvatra dikhAI par3atA hai / tiloyapaNNatti kA eka udAraNa dRSTavya hai - 1. mAtA kA rakta, pitA kA zukra se utpanna hokara daza rAtri paryaMta kalaka rUpa meM / (kIcar3a rUpa meM) 2. isake bAda kI daza rAtri paryanta kaluSIkRta |(20din) 3. kaluSIkRta ke daza rAtri paryanta sthirIbhUta/niSkApya( 30) 4. kaluSIkRta ke pazcAta pratyeka mAsa meM budabuda / 5. ghanabhUta 6. phira mAMsa peziyoM kA nirmANa hotA hai .(pAMca pulaka, do hAtha, do paira, eka zira, aMgopAMga, carma, roma, nakha Adi) 7. AThaveM mAMsa meM spaMdana kI kriyA hotI hai / 8. naveM/dasameM meM janma / -(tiloya 4/627-629) garbha samaya meM bAlaka amAzaya ke nIce, pakabAzaya ke Upara mala ke bIcoM bIca vastipaTala (jarAyu-paTala) se AcchAdita, vAnti AhAra se yukta nau-dasamAha taka - zoNita- zukra meM yuka zarIra rahatA hai / (ti pa. 4/ 630.332) yaha sarIra saptadhAtuoM se yukta hotA hai / zvAMsa ruka jAne, AhAra na milane, garmI, zardI kI gurutA Adi se vAta, pitta evaM kapha Adi kI viSamatA se rugNa hotA hai / ( bhAvapAhuDa 25,26, dhavalApustaka 1/23, gommaTasAra karma 57) - 208 -

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Agama aura siddhAnta granthoM ke AdhAra para DA~ rAjendraprakAza bhaTanAgara, DA~ rAjakumAra jaina ne isa Ayurveda pRthak se kArya kiyA hai / prAkRta sAhitya kI Agama vidhA para svatantra anusandhAna se AyurvijJAna kI vizeSa jAnakArI mila sakatI haiM / hRdayaroga, kaiMsara Adi ke upacAra ke kaI upAya khoje jA sakate haiM / prAkRta meM likhA gayA kathA sAhitya itanA vipula hai ki isase yaha viSaya achUtA rahA bhI nahIM, hogA / isa prakAra isa isa kSetra meM jitanA bhI anusaMdhAna kiyA jAegA, utanA hI upayogI hogA / nae AyurvijJAna ke grantha sAmane A sakeMge / 1. 2. 3. 4. - sandarbha jaina Ayurveda kA itihAsa DaoN. rAjendra mohana bhaTanAgara, udayapura - Ayurveda kA vaijJAnika itihAsa AcArya priyavrata zarmA vipAkasUtra, Agama prakAzana samiti, byAbara, 1.7 a) kuvalayamAlAkahA kA sAMskRtika adhyayana DaoN. prema sumana jaina, vaizAlI A) jaina Agama sAhitya meM bhAratIya samAja - DaoN. jagadIzacandra jaina, vArANasI -0-0-0 209

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25. dhammapadakI sArvabhaumikatA - prophesara vijayakumAra jaina,lakhanaU bhUmikA ___ 'dhammapada ' pAli tripiTaka ke aMtargata khuddakanikAya kA eka graMtha hai| dhammapada ' se bauddhadharma kA to jJAna hotA hI hai, mAnava kalyANa kI vizvopayogI sArvakAlika zikSAe~ prApta hotI haiN| yahI kAraNa hai ki ise bauddhadharma ke pratinidhi graMtha kA darjA diyA jAne lagA hai| jaise bAivila, gItA Adi ko IsAI evaM hindU paramparA meM diyA jAtA hai| isa dhammapada kA pATha buddha ke samaya hI kiyA jAne lagA thaa| bhagavAna buddha kI 'vANI' ke rUpa meM sarvAdhika prAmANika evaM lokapriya racanA hai| ise kaI bhASAoM meM anUdita bhI kiyA gayA hai| prAkRta dhammapada bhI milatA hai, saMskRta chAyA bhI kI gaI hai| 'dhammapada ' ko buddhavacana mAnane meM kisI ko Apatti nahIM hai| tripiTaka ke khuddakanikAya meM sammilita hone ke kAraNa yaha buddhavacana to hai hI, sAtha hI khuddakanikAya ke kucha graMthoM meM jisa prakAra buddhavacana mAnane meM Apatti kI jAtI hai vaha bhI dhammapada, suttanipAta, dAna, itivRttaka, khuddakapATha meM nhiiN| svayaM bhagavAna buddha ne dhammapada ' kI prazaMsA kI thii| 'dhammapada ' zabda kA artha hai dharma - sambandhI pada yA shbd| 'pada ' zabda kA artha vAkya yA gAthA kI paMkti bhI hotA hai| ataH 'dhammapada ' kA artha dharma - sambandhI vAkya yA gAthA bhI hai| buddha dvArA upadiSTa dharma - sambandhI zabdoM, vAkyoM yA gAthAoM ko bhikSu unake jIvana-kAla meM hI kaNThastha karane lage the| sutta-nipAta ke aTTaka-vagga ko buddha ke eka ziSya ne unake sAmane sasvara sunAyA thaa| isI prakAra dUsare buddha-vacana bhI bhikSuoM ke dvArA kaNThastha kiye jAte the aura unakA kisI na kisI rUpa meM saMkalana bhI usa samaya vidyamAna thaa| 'dhammapada ' aisA hI eka saMkalana hai| svayaM 'dhammapada' kI do gAthAoM ke artha meM 'dhammapada ' zabda kA prayoga milatA hai| yaha usakI prAcInatA kA sUcaka hai| ye donoM gAthAe~ isa prakAra haiM - ko imaM paThaviM varjissati yamalokaJca imaM sadevakaM / ko dhammapadaM sudesitaM kusalo pupphamiva pacessati / / 44 // sekho paThaviM vijessati yamalokaJca imaM sadevakaM / sekho dhammapadaM sudesitaM kusalo phuphphamivapacessati / / 45 / / " kauna isa pRthvI tathA devatAoM ke sahita yama-loka ko jItegA ? kauna kuzala purUSa ke samAna isa sundara rUpa se upadiSTa "dhammapada' ko cunegA ? "zaikSya purUSa isa pRthvI tathA devatAoM ke sahita yama-loka ko jItegA / zaikSya puruSa puSpa ke samAna isa sundara rUpa se upadiSTa dhammapada ' ko cunegA // (-dhammapada, pupphavaggo) 4-210

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saMyutta-nikAya meM bhI 'dhammapada ' zabda kA prayoga dharma-padoM ke rUpa meM huA hai aura usase yaha aura bhI acchI taraha pramANita ho jAtA hai ki buddha ke kAla meM hI unake dvArA upadiSTa gAthAoM kA eka saMkalana dharma-padoM ke rUpa meM vidyamAna thA aura bhikSu unheM kaNThastha karake apane upadezoM meM prayukta karate the| piyaMkara-sutta meM kahA gayA hai ki eka bAra bhikSu anuruddha (aniruddha) zrAvastI ke jetavanArAma meM prAtaHkAla kucha 'dhammapadoM' kA pATha kara rahe the aura unheM sunane kI AturatA meM eka strI apane zora karate hue putra ko cupa karatI huI kahatI hai, " mere priyaMkara ! cupa ho jA ! zora mata kara / dekha, yaha bhikSu dharmapadoM ko par3ha rahA hai| yadi hama dharmapadoM ko jAneMge to hamArA kalyANa hogaa| isI prakAra saMyutta-nikAya ke hI sajjhAya-sutta meM eka bhikSu kA ullekha AyA hai, jo pahale 'dhammapadoM ' ko par3hA karatA thA, parantu adhika vikasita AdhyAtmika avasthA prApta kara, aba usane unakA pATha karanA chor3a diyA hai / yaha pUche jAne para ki " bhikSu ! aba Apa dharmapadoM kA pATha kyoM nahIM karate ?" pahale jaba taka mukhe vairAgya nahIM huA thA, maiM dharmapadoM ko par3hA karatA thA, aMguttara-nikAya meM bhI hameM jJAta hotA hai ki eka bAra bhagavAn buddha ne sappinI yA sappinikA (vartamAna paMcAna, bihAra meM) nadI ke tIra para sthita eka parivrAjakArAma meM vahA~ ke parivrAjakoM ke samakSa cAra dharmapadoM kA upadeza diyA thaa| isa prakAra dharma ke-buddha ke upadezoM ke-' padoM ' yA gAthAoM ko bhikSu buddha ke jIvana-kAla meM kaNThastha karate the| Aja jo 'dhammapada ' hameM milatA hai, vaha unhIM gAthAoM kA mUla saMkalana hai| 'dhammapada ' kI kaI gAthAoM ke uddharaNa -- niddesa' aura 'kathAvatthu ' meM diye gaye haiM aura IsavI sana ke AsapAsa kI racanA -- milindapaJho ' meM "bhAsitaM petaM bhagavatA devatAtidevena dhammapade "(una devAtideva bhagavAn (buddha) ne 'dhammapada ' meM aisA kahA hai)" aisA kahate hue do vibhinna sthaloM para 'dhammapada ' kI do gAthAoM (32vIM aura 327vIM) ko uddhRta kiyA gayA hai / isa prakAra budda-vacana ke rUpa meM dhammapada kI pratiSThA atyanta prAcInakAla se calI A rahI hai| dhammapada meM kula milAkara 423 gAthAe~ haiM, jo 26 vargoM meM baMTI huI haiN| isake mukhyataH cAra saMskaraNa upalabdha haiN| sarvaprathama prAkRta dhammapada hai| khotana meM khaMDita kharoSThI lipi meM yaha prApta huA haiN| yaha bilakula apUrNa avasthA meM hai aura yaha nahIM kahA jA sakatA ki isakA maulika svarUpa kyA hai| isa graMtha kA sampAdana pahale phreMca vidvAn I. senA ne kiyA thaa| bAda meM isakA sampAdana DaoN.veNImAdhava baDuA tathA surendranAtha mitra ne kiyaa| prastuta graMtha meM 12 adhyAya haiM, jinakI anurUpatA pAli-dhammapada ke sAtha isa prakAra hai 2 - prAkRta dhammapada pAli dhammapada varga-krama varga-nAma aura gAthAoM kI saMkhyA inake anurUpa krama, nAma aura gAthAoM kI saMkhyA, jo pAli dhammapada meM pAI jAtI hai| maga-baga 30 20. magga-vagga 17 apramAda-vaga 2. appamAda-vaga 12 3. citta-vaga (apUrNa) 3. citta-vagga 11 -211 -

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puSa-vaga sahasa-vaga yA panita-vaga yA dhamaTha-vaga bAla-vaga 7 (apUrNa) 4. puppha-vagga 16 8. sahassa-vagga 16 6. paMDita-vagga 14 19. dhammaTTha-vagga 17 5. bAla-vagga 16 11. jarA-vagga 11 15. sukha-vagga 12 24. taNhA-vagga 26 25. bhikkhu-vagga 23 26. brAhmaNa-vagga 41 jarA-vaga suha-vaga taSa-vaga bhikSu-vaga 7 (apUrNa) 40 brAhmaNa-vaga jina vargo ke nAmoM meM samAnatA hai, unake bhI kramoM aura gAthAoM kI saMkhyA ke sambandha meM kAphI asamAnatA hai| adhikatara pAli dhammapada kI apekSA prAkRta-dhammapada ke vargoM meM hI gAthAe~ adhika haiN| isa gAthA-vRddhi kA kAraNa zrI bharatasiMha upAdhyAya ne batalAyA hai ki dhammapada kI gAthAoM kA saMgraha pUre sutta-piTaka ke graMthoM se hI kiyA gayA hai, ataH unake cunane meM vibhinna sampradAyoM ke graMthoM meM vibhinnatA A gaI hai| anya saMskaraNoM ke bAre meM bhI yahI bAta hai| eka bar3I vizeSatA prAkRta dhammapada kI bhASA ke sambandha meM yaha hai ki usakI Azcaryacanaka samAnatA azoka ke zAha-bAz2agar3hI aura manaseharA ke abhilekhoM se hai| isase yahI vidita hotA hai ki prAkRta-dhammapada uttarapazcima bhArata yA madhya-eziyA kI bolacAla kI bhASA meM likhA gayA thaa| usameM kucha saMskRtIkaraNa kI pravRtti pAI jAtI hai| dhammapada kA dUsarA saMskaraNa, jisakA bhI svarUpa abhI anizcita hI hai, usakA gAthA saMskRta yA mizrita saMskRta meM likhA huA rUpa hai| isakA sAkSya hameM ' mahAvastu' se milatA hai, jo svayaM gAthA-saMskRta meM likhI huI racanA hai aura jisase ' dhammapada ' kA eka aMza mAnate huye ' sahasra varga ' (dharmapadeSu sahasravargaH) nAma 24 gAthAoM ke samUha ko uddhRta kiyA hai - teSAM bhagavAn jaTilAnAM dharmapadeSu sahasravagaM bhAsati 'sahasramapi vAcAnAM anarthapadasaMhitAnAM, ekArthavatI zrayo yaM zrutvA upazAmyati ' kintu vahA~ kevala 16 gAthAe~ haiN| mahAvastu ' meM uddhRta 'sahasravarga' ke atirikta gAthA saMskRta meM likhe dharmapada ke pUre svarUpa ke bAre meM hameM kucha adhika jJAna nahIM hai| dhammapada ke ' ca ha-khi-u-thiG' nAmaka cInI anuvAda se jo 223 I. meM kiyA gayA thA, yaha avazya jJAta hotA hai ki usakA mUla prAkRta dhammapada thA, kintu usake bhI Aja anupalabdha hone ke kAraNa prAkRta-dhammapada ke vAstavika svarUpa kI samasyA ulajhI hI raha jAtI hai| dhammapada kA tIsarA rUpa vizuddha saMskRta meM hai, jo apane khaMDita rUpa meM -212

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turphAna meM pAyA gayA hai| isa graMtha meM 36 adhyAya hai, arthAt pAli dhammapada se 7 adhik| isI saMskaraNa kA tibbatI bhASA meM anuvAda bhI milatA hai, jo 817- 842 IsavI meM kiyA gayA thaa| raoNkahila ne isakA anuvAda ' udAna varga' zIrSaka se kiyA hai aura use saMskRta dharmapada kA pratirUpa mAnA hai| dhammapada kA cauthA rUpa pha-khyU - kiG nAmaka cInI anuvAda meM pAyA jAtA hai| yaha anuvAda mUla saMskRta dharmapada se 223 I. meM kiyA gyaa| mUla Aja anupalabdha hai| isa cInI anuvAda meM pAli dhammapada ke 26 vargoM yA adhyAyoM kI jagaha 39 to adhyAya haiM aura 423 gAthAoM kI jagaha 752 gAthAe~ haiN| inakA tulanAtmaka vivaraNa isa prakAra hai - krama. cInI dhammapada (pha- kyU-kiG ) pAli dhammapada 1. anityatA (21) 2. jJAna-darzana (29) 3. zrAvaka (19) zrRddhA (18) kartavya pAlana (16) vicAra (12) maitrI - bhAvanA (19) saMlApa (12) yamaka vagga (22) apramAda - vagga ( 20 ) citta-vagga (12) puppha-vagga (17) bAla - vagga (21) paMDita vagga (17) arahaMta - vagga (10) (16) (22) (14) (14) 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. sahasra vagga pApa-vagga daMDa-vagga jarA-vagga - 213 anupalabdha anupalabdha anupalabdha anupalabdha anupalabdha anupalabdha anupalabdha anupalabdha 1. yamaka vagga (20) appamAda-vagga (12) citta-vagga (11) (16) bAla-vagga (16) paMDita - vagga (14) arahaMta vagga (14) sahassa vagga (16) (13) (14) (11) 2. 3. 4. citta-vagga 5. 6. 7. 8. 9. pApa-vagga 10. paMDita - vagga 11. jarA vagga

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20. 21. 22. 23. 24. 25. 26. 27. 28. 29. atta-vagga (14) loka-vagga (14) buddha-vagga (21) sukha-vagga (14) piya-vagga (12) krodha-varaga (26) mala-vagga (19) dhammaTTha-vagga (17) magga-vagga (28) pakiNNa-vagga (14) niyara-vagga (16) nAga vagga (18) taNhA vagga (32) sevA (20) (32) brAhmaNa vagga (40) nirvANa bhikkhu - - vagga 12. atta-vagga 13. loka vagga (10) (13) 14. buddha-vagga (18) 15. sukha-vagga (12) 16. piya-vagga (12) 17. krodha-vagga (14) 18. mala-vagga (21) 19. dhammaTTha-vagga (17) (17) pakiNNa vagga (16) niraya-vagga (14) (14) (26) 30. 31. 32. 33. 34. 35. 36. (36) 37. janma aura mRtyu (18) 38. dharma-lAbha (19) 39. mahAmaMgala (19) Upara cInI anuvAda ke vargoM ke nAma jahA~ unakI pAli dhammapada ke sAtha samatA hai, pAli meM suvidhA ke vicAra se de diye gae haiN| cInI anuvAdoM meM unake svabhAvataH cInI bhASA meM hI zIrSaka haiN| 214 20. magga- vagga 21. 22. 23. nAga vagga 24. taNhA vagga 25. 25. bhikkhu-vagga (23) 26. brAhmaNa - vagga (41) bharatasiMha upAdhyAya kA mata hai ki saba kA mUlAdhAra pAli dhammapada hI hai, jisakI gAthAoM ko aksara bar3hA kara aura kahIM-kahIM ghaTAkara bhI bhinna-bhinna bauddha sampradAyoM ne apane alaga-alaga saMgraha banA lie| isa prakAra pAli dhammapada kA mahatva vAddha jagata meM zikSAoM kI dRSTi se mahatvapUrNa hai|

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'yamakavagga ' (varga - 1) meM adhikarata aise upadezoM kA saMgraha hai, jinameM do-do bAteM jor3e ke rUpa meM AtI haiN| " mujhe gAlI dI , mujhe mArA , mujhe harA diyA , mujhe lUTa liyA " aisA jo mana meM bAMdhate haiM, unakA vaira kabhI zAnta nahIM hotA. (1/14) ahiMsA kA yaha sanAtana sandeza bhI kitanA mArmika hai, yahA~ vaira se vaira kabhI zAnta nahIM hotaa| avaira se hI vaira zAnta hotA hai, yahI sanAtana dharma hai| " (1/5), bar3I-bar3I saMhitAoM kA bhASaNa karane vAle kintu unake anusAra AcaraNa na karane vAle vyakti kI 'dhammapada ' meM usa gvAle ke samAna kahA gayA hai, jisakA kAma kevala dUsaroM kI gAyoM ko ginanA hai| (1/19), bauddha cintakoM ne zArIrika saMyama ke mUla ko sadA mana ke andara dekhA thA, isIlie dhammapada kI prathama gAthA mana kI mahimA kA varNana karatI huI kahatI hai, " mana hI saba dharmoM (kAyika, vAcika, mAnasika karmoM) kA agragAmI hai, mana hI unakA pradhAna hai| sabhI dharma manodaya haiN|" AtmasaMyama, vAstavika zrAmaNya aura satsaMkalpa ke svarUpa ko mahattva ke varNana isa varga ke anya viSaya haiN| 'appamAdavagga ' meM pramAda kI nindA aura a-pramAda kI prazaMsA kI gaI hai| apramAda ke dvArA hI anapama yoga-kSema rUpa nirvANa ko prApta kiyA jAtA hai| (2/3), apramAda ke kAraNa hI indra devatAoM meM zreSTha banA hai| (2/10), apramAda meM rata bhikSu ko hI yahA~ 'nirvANa ke samIpa' (nibbANasseva santike) kahA hai| (2/12), 'cittavagga ' (varga 3) meM citta-saMyama kA varNana haiN| jitanI bhalAI mAtA-pitA kara sakate haiM, na dUsare bhAI-bandhu , usase adhika bhalAI ThIka mArga para lagA huA citta karatA hai| 'pupphavagga ' (varga 4) meM puSpa ko Alambana mAna kara naitika upadeza diyA gayA hai| sadAcAra rUpI gandha kI prazaMsA karate hue kahA gayA hai, tagara aura candana kI jo yaha gandha phailatI hai, vaha alpamAtra hai| kintu yaha jo sadAcAriyoM kI gandha hai| ve devatAoM meM phailatI hai| 'bAlavagga ' meM mUl ke lakSaNa batalAte hue kahA gayA hai ki unake liye saMsAra (AvAgamana) lambA hai| isI varga meM sAMsArika unnati aura paramArtha ke mArga kI vibhinnatA batalAte hue kahA gayA hai lAbha kA mArga dUsarA hai aura nirvANa ko le jAne vAlI dUsarI, ise jAnakara buddha kA anuyAyI bhikSu satkAra kA abhinandana nahIM karatA, balki ekAntacaryA ko bar3hAtA hai| 'paMDitavagga ' (varga 6) meM vAstavika paMDita paruSoM ke lakSaNa batalAye gaye haiN| jo apane lie yA dUsaroM ke liye putra, dhana aura rAjya nahIM cAhate, na adharma se apanI unnati cAhate haiM, vahIM sacAcArI puruSa, prajJAvAn aura dhArmika haiN| arahaMta vagga (varga 7) meM bar3I sundara kAvya-maya bhASA meM arhatoM ke lakSaNa kahe gaye haiN| jisakA mArga-gamana samApta ho cukA hai, jo zoka-rahita tathA sarvathA mukta hai, jisakI sabhI granthiyA~ kSINa ho gaI haiM, usake liye santApa nahIM hai| saceta hI vaha udyoga karate haiN| gRha-sukha meM ramaNa nahIM krte| haMsa jaise kSudra jalAzaya ko chor3a kara cale jAte haiM, vaise hI arhata gRha ko chor3a cale jAte haiN| jo vastuoM kA saMcaya nahIM karate, jinakA bhaMjana niyata hai, zUnyatA-svarUpa tathA kAraNa-rahita mokSa jinako dikhAI par3atA hai, unakI gati AkAza meM pakSiyoM kI bhAMti ajJeya hai| gA~va meM yA jaMgala, nIce yA U~ce sthala, jahA~ kahI arhat loga vihAra karate haiM, vahI ramaNIya bhUmi hai| sahassavagga (varga 8) kI mUla bhAvanA yaha hai ki sahasroM gAthAoM ke sunane se eka zabda kA sunanA acchA hai, yadi usase zAnti mile| siddhAnta ke mana bhara se abhyAsa kA kaNa bhara acchA hai| sahasroM yajJoM se sadAcArI jIvana zreSTha hai| pApavagga (varga 9) meM pApa na karane kA upadeza diyA gayA hai, kyoMki ' na AkAza meM, na -215

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samudra ke madhya meM, na parvatoM ke vivara meM praveza kara saMsAra meM koI sthAna nahIM hai, jahA~ raha kara, pApakarmoM ke phala se prANI baca ske|' 'daMDavagga ' (varga 10) meM kahA gayA hai ki ' jo sAra prANiyoM ke pratidaMDa tyAgI hai, vahI brAhmaNa hai, vahI zramaNa hai, vahI bhikSu hai|'' jarAvagga' ( varga 11) meM vRddhAvasthA ke duHkhoM kA darzana hai| isI varga meM saMsAra kI anityatA kI yAda dilAte hue yaha mArmika upadeza diyA gayA hai, jaba nitya hI Aga jala rahI hai to kyA ha~sI hai, kyA Ananda mAnanA hai| andhakAra se ghire hue tuma dIpaka ko kyoM nahIM DhUMDhate ho ? isI varga meM bhagavAn ke udgAra bhI sannihita haiM, jo unheM samyak sambodhi prApta karane ke anantara hI kiye the, aneka janmoM taka binA ruke hue maiM saMsAra meM daur3atA rhaa| isa (kAyA rUpI) kaThorI ko banAne vAle (gRhakAraka ) ko khojate khojate punaH punaH mujhe duHkha - maya janmoM meM giranA pdd'aa| Aja he gRhakAraka ! maiMne tujhe pahacAna liyaa| aba phira tU ghara nahIM banA skegaa| terI sArI kar3iyA~ bhagna kara dI gii| gRha kA zikhara bhI nirbalI ho gyaa| saMskAra-rahita citta se Aja tRSNA kA kSaya ho gyaa| attavagga (varga 12) meM Atmonnati kA mArga dikhAyA gayA hai| isI varga kI prasiddha gAthA hai| puruSa Apa hI apanA svAmI hai, dUsarA kauna svAmI ho sakatA hai ? apane ko bhalI prakAra damana kara lene para vaha durlabha svAmI ko pAtA hai| 336 loka-vagga (varga 13) meM loka sambandhI upadeza haiN| buddhavagga (varga 14 ) meM bhagavAn buddha ke upadezoM kA sarvottama sAra diyA huA hai - " sAre pApoM kA na karanA, puNyoM kA saMcaya karanA, apane citta ko parizuddha karanA-yahI buddhoM kA zAsana hai| nindA na karanA, ghAta na karanA, bhikSu niyamoM dvArA apane ko surakSita rakhanA, parimANa jAnakara bhojana karanA, ekAnta meM sonA-baiThanA, citta ko yoga meM lagAnA - yahI buddhoM kA zAsana hai| sukha-vagga ' (varga 15) meM usa sukha kI mahimA gAI gaI hai, jo dhana-sampatti ke saMyoga se rahita aura kevala sadAcArI aura akiMcanatAmaya evaM maitrIpUrNa jIvana se hI labhya hai / bhikSu kahate haiM, vaira-baddha prANiyoM ke bIca avairI hokara viharate hue aho ! hama kitane sukhI haiN| vaira-baddha mAnavoM meM hama avairI hokara viharate haiM / bhayabhIta prANiyoM ke bIca meM abhaya hokara viharate hue aho ! hama kitane sukhI haiN| bhayabhIta mAnavoM meM hama abhaya hokara viharate haiN| Asakti-yukta prANiyoM ke bIca meM anAsakta hokara viharate haiN| piyavagga (varga 16) meM yaha kahA gayA hai ki jisake jitane adhika priya haiM, usako utane adhika duHkha haiN| prema se zoka utpanna hotA hai, prema se bhaya utpanna hotA hai, prema se mukta ko koI zoka nahIM, phira bhaya kahA~ se ? kodhavagga (varga 17) kI mukhya bhAvanA hai| akrodha se krodha ko jIto, asAdhu ko sAdhutA se jIto, kRpaNa ko dAna se jIto, jhUTha bolane vAle ko satya se jIto / mallavagga (varga 18) meM bhagavAn ne kahA hai ki avidyA hI sabase bar3A mala hai| bhikSuo ! isa mala ko tyAga kara nirmala bno| dhammaTThavagga (varga 19) meM vAstavika dharmAtmA puruSa ke lakSaNa batalAye gaye haiN| " bahuta bolane se dharmAtmA nahIM hotaa| jo thor3A bhI suna kara zarIra se dharma kA AcaraNa karatA hai aura jo dharma meM asAvadhAnI nahIM karatA, vAstava meM dharmadhara hai| isI prakAra mauna hone se muni nahIM hotaa| vaha to mUr3ha aura avidvAn bhI ho sakatA hai| jo pApoM kA parityAga karatA hai, vahI muni hai / cU~ki vaha donoM lokoM kA manana karatA hai, isIliye vaha muni kahalAtA hai|" isI varga meM bhagavAn kA yaha utsAhakArI mArmika upadeza bhI hai, "bhikSuoM ! jaba taka citta-maloM kA vinAza na kara do, caina mata lo - bhikkhU ! vissAsamApAdi appattI AsavakkhayaM / ' maggavagga' ( varga 20) meM nirvANa - gAmI " 216

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mArga kA varNana haiN| sabhI saMskAroM ko anitya, duHkha aura anAtma samajhate hue manuSya ko cAhiye ki " vANI kI rakSA karane vAlA aura mana se saMyamI rahe tathA kAyA se pApa na kre| 'pakiNNaka-vagga ' (varga 21) meM ahiMsA aura zarIra ke duHkhadoSAnucintana Adi kA varNana haiN| niraya-vagga (varga 22) meM batalAyA gayA hai ki kaise puruSanarakagAmI hote haiN| nAga-vagga (varga 23) meM nAga (hAthI) ke samAna aDiga rahane kA upadeza diyA gayA hai| " jaise yuddha meM hAthI dhanuSa se gire vANa ko sahana karatA hai, tRSNA ko samUla khoda DAlane kA upadeza hai| apane pAsa darzanArtha Aye hue AdamiyoM ko sambodhita karate hue bhagavAn kahate haiM, isalie tumheM kahatA hU~ , jitane yahA~ Aye ho, tumhArA saba kA maMgala ho, jaise khasa ke lie loga uSIra ko khodate haiM, vaise hI tuma tRSNA kI jar3a ko khodo|" ' bhikkhu vagga '(varga 25) meM bhikSuoM ke lie lomaharSaka upadeza hai| he bhikSu ! isa nAva ko lIcolIcalane para yaha tumhAre lie halkI ko jaaegii| rAga aura dveSa kA chedana kara phira tuma nirvANa ko prApta kara loge| punaH he bhikSu ! dhyAna meM lgo| mata asAvadhAnI kro| mata tumhArA citta bhogoM ke cakkara meM pdd'e| pramatta ho kara mata lohe ke gole ko niglo| "hAya duHkha !' kaha kara dagdha hote hue mata tumheM pIche krandana karanA pdd'e| bhikSuoM ! jaise jUhI kumhalAye hue phUloM ko chor3a detI hai, vaise tuma rAga aura dveSa ko chor3a do" 'brAhmaNa-vagga ' (varga 26) meM brAhmaNoM ke lakSaNa ginAye gae haiN| 26/13-41 gAthAe~ to bar3I hI kAvyamaya haiN| bhagavAn kI dRSTi meM vAstavika brAhmaNa kauna hai, isa para kucha gAthAe~ dRSTavya haiM: mAtA aura yoni meM utpanna hone se maiM kisI ko brAhmaNa nahIM khtaa| vaha to " bhovAdI' ('bho ' 'bho') kahane vAlA, jaisA brAhmaNa usa samaya eka dUsare ko sambodhana karate samaya karate the aura saMgrahI hai| maiM to brAhmaNa use kahatA hU~ , jo aparigrahI aura lene kI icchA na rakhane vAlA hai| jo binA dUSita citta kiye gAlI, vadha aura bandhana kA sahana karatA hai, kSamA bala hI jisakI senA kA senApati hai, use maiM brAhmaNa kahatA huuN| kamala ke patte ke jala aura Are ke noka para sarasoM kI bhA~ti jo bhogoM meM lipta nahIM hotA,use maiM brAhmaNa kahatA huuN| jo virodhiyoM ke bIca virodha-sahita rahatA hai, jo daMDadhAriyoM ke bIca daMDa-rahita rahatA hai, saMgraha karane vAloM meM jo saMgraha-rahita hai, use maiM brAhmaNa kahatA huuN| jisane yahA~ puNya aura pApa donoM kI Asakti ko chor3a diyA, jo zoka-rahita, nirmala aura zuddha hai, use maiM brAhmaNa kahatA huuN| jisake Age, pIche aura madhya meM kucha nahIM hai, jo sarvatra parigraha-rahita hai, use maiM brAhmaNa kahatA hU~ aadi| Upara dhammapada kI viSaya-vastu ke svarUpa diyA gayA hai, usase spaSTa hai ki usameM nIti ke ve sabhI Adarza saMgRhIta haiM, jo bhAratIya saMskRti aura samAja kI sAmAnya sampatti hai| -217

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citta kA mahattva __kAyAnusmRti se bauddha sAdhanA kA AraMbha hotA hai| kAyAnusmRti ke sAtha sAdhaka cittAnusmati meM bhI lagA rahatA hai| cittAnusmRti meM lagA sAdhaka apane citta ko dekhatA hai ki usakA citta " rAga ke kAraNa malina to nahIM hai, dveSa ke kAraNa kuceSTA to nahIM karanA cAhatA, svArtha parAyaNa to nahIM hai, parahita vimukha to nahIM hai| yoM citta kI avasthA dekhate hue, citta suprasanna, zAnta tathA paronmukhI rahatA hai|" prasanna citta kI mahimA apAra hai| prasanna citta ke dvArA kiye gaye kArya tathA bole gaye vacana se sukha hI sukha hotA hai aura vaha sukha manuSya ke pIche parachAI kI bhA~ti calatA hai, kabhI bhI alaga nahIM hotaa| tathAgata kA vacana hai - manopubbAgamA dhammA manoseTThA mnomyaa| manasA ce pasannena bhAsati vA karoti vaa| tato naM sukhamanveti chAyAva anapAyinI // - dhammapada 2 citta ko nirmala banAne ke sAtha vedanA meM arthAt sukha-duHkha kI avasthAoM meM tathA anya dharmoM kI mAnasika avasthAoM meM sAdhaka jAgarUka rahatA hai| vedanAnusmRti tathA dharmAnusmRti ke prasaMga meM citta kI hI pradhAnatA rahatI hai| " citta kI sAdhanA se hI unakA vikSepa zAnta hotA hai|" vastutaH citta ke rAste para lAnA hI sAdhaka kA pradhAna kArya hai| citta kI sAdhanA ke pradhAna phala kI ora tathAgata ne yoM saMketa kiyA hai - diso disaM yaM taM taM kayirA verI vA pana verinaM / micchA -paNihitaM cittaM pApiyoM naM tato kare // - dhammapada 42 yadi citta burAI meM par3a gayA to baha, eka vairI dUsare vairI ke prati jitanA apakAra karatA hai, usase kahIM adhika apakAra kregaa| kintu citta yadi acchAI meM laga gayA, to mAtA pitA tathA anya svajana jitanA kalyANa karate haiM, unase kahIM adhika kalyANa kregaa| naM taM mAtA pitA kayirA ajhe vApi ca jaatkaa| sammA-paNihitaM cittaM seyyasoM naM tato kare // - dhammapada 43 AtmakalyANa AtmakalyANa kI bahuta prazaMsA kI gayI hai| dhammapada meM tathAgata kA vacana hai - attadatyaM paratyena bahunApi na haapye| attadatthamabhijJAya sadatyapasuto siyA ||- dhammapada 166 parArtha bahuta ho to bhI AtmArtha nahIM tyAganA cAhie / AtmArtha kyA hai, ise jAnakara apane kalyANArtha meM lage rahanA caahie| -218

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yaha mAnava samAja, jo pRthagjanoM tathA kalyANapRthagjanoM se vyApta hai, usameM AryatA kA saMcAra karanA bauddha sAdhanA kA uddezya hai| yaha bauddha AryatA vaidika AryatA se bhinna rahI hai| yajJoM ke dvArA AryatA prApta karanA vaidika mArga thA tathA isa mArga meM pazubali bahuta Avazyaka vastu thii| pazuoM meM azva, go, avi (meSa) tathA aja (bakare) nahIM, paruSa kA bhI samAveza rahatA thaa| yaha AryatA tathAgata ko mAnya na thI / unhoMne spaSTa kahA hai. - na tena ariyo hoti yena pANAni hiMsati / ahiMsA sabbapANAnaM ariyo ti pacati // - dhammapada 270 prANiyoM kI jisa (bhAva) se (AdamI) hiMsA karatA hai, usase koI Arya nahIM hotA / saba prANiyoM kI hiMsA na karanA hI eka (aisA bhAva) hai, jisase koI Arya hotA hai| yaha AryatA kyA hai ? yaha AryatA bandhana se mukti kA nAma hai -" iyarti svacchandaM gacchati iti AryaH" isa nirvacana ke anusAra vaha Arya hotA hai, jo bandhana hIna hai, jo dAsa nahIM hai| vaha zreSTha hai| jina bandhanoM meM bandhakara manuSya AryabhAva ko kho detA hai tathA dAsabhAva meM phaMsa jAtA hai, usa bandhanoM kA chinna bhinna karane kA mArga dikhAnA tathAgata kA kAma thA / jo AryatA ke pravAha meM bahane lagatA hai, usakI prazaMsA karate hue tathAgata ne kahA hai - pathavyA ekarajjena saggassa samanena vA / sabbalokAdhipaccana sotApattiphalaM varaM / - dhammapada 178 pRthvI ke sampUrNa rAjya se athavA svarga ke ArohaNa se athavA saba lokoM ke Upara sthApita prabhutva se srota meM -AryatA ke pravAha meM pahu~cane kA phala zreSTha hotA hai / bandhana meM bandha vyakti AryatA ke pravAha taka pahu~ca nahIM sktaa| bandhana aneka haiN| ahaMtA tathA mamatA kA bandhana bahuta hI kaThina hai / tathAgata ne svayaM kahA hai - na taM dahaM bandhanamAhu dhIrA yadAyasaM dArujaM babbajaM ca / sArattarattA maNikuMDalesu putresu dAresu ca yA apekkhA / etaM dalhaM bandhanamAhu dhIrA ohArinaM sithilaM duppamuM ca // dhammapada 345, 346 'buddhimAna loga usa bandhana ko kaThina nahIM mAnate, jo lohe kA, lakar3I kA evaM tRNa kA banA hotA hai| para ratnoM meM jo parama anurAga hotA hai tathA jo putroM evaM bhAryAoM meM Asakti hotI hai, ise buddhimAna loga kaThina bandhana mAnate haiN| vaha yadi DhIlA DhAlA ho to bhI nIce kI ora khIMca le jAtA hai, usase apane ko chur3A pAnA eka bahuta kaThina kAma hai|" isake sAtha kAya kI mamatA to sabako rahatI hI hai / yadyapi saba loga jAnate haiM ki - aciraM vatayaM kAyo paThaviM adhisessati / chuddho apetaviJjANo niratthaM va kaliGgaraM / -219 dhammapada 41

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binA bahuta dera kiye hI yaha zarIra dharatI para lur3haka jAegA, jJAnahIna ho jAegA aura bekAra ke kASTha-khaMDa ke samAna pheMka diyA jaaegaa| isa ahaMtA tathA mamatA ko bauddha paribhASA meM satkAyadRSTi kahate haiN| sat zabda kA artha hai, vizIrNa hone vAlA, bikhara jAne vAlA tathA kAya kA artha hai, caya, saMghAta yA skndh| ye tInoM zabda samUhavAcaka haiN| abhidharmakoza (5/7) meM bhASya meM vivaraNa karate hue AcArya vasubandhu ne yahI kahA hai - sIdatIti st| cayaH kAyaH saMghAtaH skandha ityrthH| lokarItiH porANametaM atula netaM ajjatanAmiva / nindanti tuNhImAsInaM nindanti bahubhANitaM / mitamANitaM pi nindanti natyi loke anndito||-dhmmpd 227 he atula, yaha purAnA mAmalA hai, yaha Aja kI (hI) bAta nahIM hai, jo cupa rahatA hai, use bhI burA bhalA kahA jAtA hai, jo bahuta bolatA hai, vaha bhI ragar3A jAtA hai, jo thor3A bolatA hai, usakI bhI zikAyata kI jAtI hai| duniyA meM kisI ko dUdha kA dhoyA nahIM kahA jaataa| anAtmavAda - tathAgata ne AtmavAda ke Aropa ke viparIta eka naI bAta khii| unhoMne kahA - sabbe dhammaM anattAti yadA pasAra passati / atha nibindati dukkhe esa maggo visuddhiyaa|| - dhammapada 279 arthAt saba dharma anAtmaka haiN| inameM AtmA kahIM nahIM hai, isa bAta ko jaba prajJA se dekhatA hai taba duHkha (duHkha-maya saMsAra) ke viSaya meM vaha virakta hotA hai| yaha vizuddhi kA mArga hai| saba dharma anAtmaka haiN| lakSaNoM ke dvArA tathA vargIkaraNa kI vidhi se saMvRtisatya tathA paramArthasatya ko samajhane kA yatna buddhakAlIna hai| tathAgata sattva ko arthAt atmA, jIva, jantu, pudgala, puruSa Adi zabdoM se saMketita padArtha ko sammuti(=saMvRti)kahate the| bhadanta nAgasena ne tathAgata kI eka gAthA uddhRta kI hai - yathA hi aMgasaMbhArA hoti saho ratho iti| evaM khandhesu santesu hoti sattoti sNmuti|| (milindaprazna) jaise ratha zabda kA prayoga aMga-sAmagrI ke kAraNa-pahie, balliyoM, jue tathA DhAMce ko saMgaThita hokara eka yAna kA rUpa dhAraNa karane ke kAraNa hotA hai; vaise hI skandhoM ke hone para-skandhoM ke vizeSa prakAra ke saMgaThana meM prakaTa hone para sattva kI, jIva kI saMvRti hotI hai| abhiprAya yaha huA ki AtmA yA jIva eka padArtha hai, jo saMvRtisatya hai, paramArthasatya nahIM hai| yaha saMvRti yataH skandhoM ke kAraNa hotI hai, ata: vivekI yadi kucha bhI asAvadhAna huA, to vaha skandhoM meM hI AtmA yA jIva ko khojane lagegA athavA skandhoM ko hI AtmA yA jIva samajha legaa| vivekaparAyaNa kahIM aisA na kara baiThe, isalie tathAgata ne kahA hai - -- 220 -

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dhammapada 279 saba dharma anAtmaka haiM-Atmarahita haiN| yaha bAta jaba vivekI prajJA se dekhatA hai arthAt zreyAvaraNa-mukta skandhoM ko jAna letA hai, taba duHkha ke prati - duHkhamaya loka ke prati usameM vairAgya hotA hai - rAga nAmaka klezAvaraNa kSINa hotA hai| yaha vizuddhi kA - jJeyAvaraNa tathA klezAvaraNa se rahita tattva kA, nirvANa kA mArga hai| buddhatva kA mahattva bodhisattva hokara buddhatva taka pahu~canA hI sAdhanA mArga kA lakSya thA / arhat eka kSetra meM eka samaya bahuta ho sakate haiM, para buddha eka kSetra meM eka samaya eka hI hote haiN| tathA sAdhAraNa logoM kI taraha saba jagaha utpanna nahIM hote . dullabho purasAJo na so sabbattha jAyati / yattha so jayatI dhIro taM kulaM sukhamedhati // sabbe dhammaM anattAti yadA paJcAra passati / atha nibbindati dukkhe esa maggo visuddhiyA // - - dhammapada 193 pUrNa rUpa se uttama puruSa durlabha hotA hai, usakA janma saba jagaha nahIM hotA / jahA~ usakA janma hotA hai, usa kula kI sukhavRddhi hotI hai| dhammapada meM jahA~ sAmAnya jana ke lie sugama evaM sarala bhASA meM upadeza haiM, vahIM sAdhaka ke lie gUDha arthoM vAlI gAthAe~ bhI bharI par3I haiN| yathA - chandajAto anakkhAte manasA ca phuTo siyA / kAmesu ca appaTibaddhacitto urddhasoto ti buvati || dhammapada 218 - ina gAthAoM kI vyAkhyA karate hue zAMti bhikSu zAstrI ne likhA hai ki dharmacaryA ke dvArA jo sukha prApta hotA hai, usameM kAyendriya kI bAhya sparzo se vimukhatA ho jAtI hai| cittendriya ko dUra-dUra kI ur3Ana lenA bhUla jAtA hai| vaha lagAma DhIlI kara lie gae ghor3e ke samAna sarapaTa bhAga nahIM pAtI, vaha antarmukhI ho jAtI hai| prANa bhI dakSiNa tathA vAma nAsApuToM kI rAha sadA kI bhA~ti nahIM calate rahate pratyut madhyamApratipadA (bIca kI nAr3I) kA Azraya lekara apanI apUrva vyApti kA apUrva kSetra meM prAtihArya (camatkAra) dikhalAne lagate haiN| nIce kI ora bahane vAlA srota banda hotA hai tathA usakA pravAha Upara kI ora ho jAtA hai / buddhavacanoM ke anusAra chandotpAda (abhilASotpAda) anakkhyAta meM hotA hai arthAt vAkyaprapaMca dvArA aprakAzanArha rahasya ke viSaya meM hotA hai, vaha mana ke dvArA sphuTa hotA hai| (aura sphuTana meM usa abhivyaMjanA) meM citta kAma viSayoM ke sAtha bAMdhane vAlA bandhana TUTa jAtA hai aura vaha urdhvasrota kahalAne lagatA hai| isa prakAra bhAva ko vyaMjita karane vAlI dhammapada kI gAthA ko zAMtibhikSuzAstrI ne kahA hai ki akSara-akSara suvarNalikhita se bhI adhika mUlyavAna hai| sabbe dhammaM anattAti yadA paJjAra passati / atha nibbindati dukkhe esa maggo visuddhiyA // - -221 dhammapada 279

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yaha urdhvasrota kI prApti dhArmika caryA kA prayojana hai| urdhvasrotakatA kI prApti saMvRttividhi citta ke saMskAra se hotI hai| saMvRtti bodhicitta zabda kA prayoga bauddha siddhasAhitya meM hotA hai| zUnyavAda meM prapaMcahInatA hI zUnyatA kahA jAtA hai| karmaklezakSayAnmokSaH karmakleza viklptH| te prapaMcAt prapaMcastu zUnyatAyAM nirudhyate ||-maadhymik kArikA 18/5 dhammapada meM kaha diyA gayA thA ki prapaMcarahita avasthA ko pAnA kaThina hai| vaha tathAgata hI pA sakate haiN| isalie kahA gayA hai - AkAse ca padaM natthi samaNo natthi bAhire / prapaMcAbhiratA prajJA nippapaMcA tathAgatA // - dhammapada 254 prapaMca ko vyAkhyAyita karate hue zAMtibhikSu isI zabda aura artha kI pakar3a karate haiN| tathAgata kI do gAthAe~, jinameM nirvANa ke animittAkAra ke sAtha zUnyAkAra kI dezanA hai, ve zUnya zabda ke prayoga meM apanA vizeSa mahattva rakhatI haiN| ve gAthAe~ ye haiM - yesaM sanniyo natthi ye prijaatbhojnaa| sujJato animitto ca vimokkho yesaM gocaro / AkAseva sakuntAnaM gati tesaM durannayA / - dhammapada 92 jinake pAsa saMnicaya arthAt dhana-dhAnya saMgraha nahIM hai, jo bhojana ke viSaya meM sAvadhAna rahate haiN| zUnya tathA animitta vimokSa jinakA gocara hai -bhAvanA kA Alambana hai| unakI gati (cihna) ko AkAza meM pakSiyoM kI gati (gati-nihna) kI bhA~ti khoja pAnA asambhava hai| yassAsavA parikkhINA AhAre ca anissito| suJato animitto ca vimokkho yassa gocro| AkAseva sakuntAnaM padaM tassa durannayaM // - dhammapada 53 jinake (citta-) mala pUrNatayA kSINa ho cuke haiM, jo AhAra meM Asakta nahIM hai| zUnya tathA animitta vimokSa gocara hai-bhAvanA kA Alambana hai| usake pada (-cihna) ko AkAza meM pakSiyoM ke pada (-cihna) kI bhA~ti khoja pAnA asambhava hai| (gAthA meM zUnyatA zabda ke artha meM hai, ta-pratyaya svArthika hai) gUDhArtha:____ yadyapi tathAgata meM AcArya-muSTi nahIM thI, ve tattva ko apane ziSyoM se nahIM chipAte the, phira bhI gUDha zailI meM bhI unhoMne kahIM kahIM kahA hai| AcArya asaMga ne abhidharmasamuccaya meM aise kucha sthaloM kI ora saMketa kiyA hai, jinameM -222

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do gAthAe~ dhammapada meM bhI mila gaI haiN| AcArya asaMga ne yathoktaM sUtre (jaisA sUtra meM kahA gayA) isa avataraNikA vAkya ke sAtha saMskRta meM gAthApATha yoM kiyA hai - tulanArthaM dhammapada ke pATha para dRSTi DAlanI cAhie - mAtaraM pitaraM hatvA rAjAnaM (? rAjAnau ) dvau bahuzrutau / rASTraM sAnucaraM hatvA naro vizuddha ucyate / dhammapada 294 donoM pAThoM meM bheda nagaNya hai| saMskRta zloka meM do rAjA bahuzruta kahe gae haiN| zrI prahlAdapradhAna jI ne jo TippaNI dI hai, usake anusAra bhoga rUpAntara meM do rAjA zrotriya haiM - vedajJa hai ( dvau ca zrotriyau ) " naro vizuddha ucyate " ke sthAna meM pAlipATha " anIgho yAti brAhmaNo " hai / mAtaraM pitaraM hantvA rAjano dve ca khattiye / raTTha sAnucaraM hantvA anIgho yAti brAhmaNo / dhammapada meM dUsarI gAthA bhI pUrva gAthA ke anantara kahI gaI hai| vaha bhI isa prasaMga meM dhyAna dene yogya hai - mAtaraM pitaraM hantvA rAjAno dve ca sotthiye / veyyagghapaMcamaM hantvA anIgho yAti brAhmaNo // dhammapada 295 isa pATha meM do rAjA zretriya kahe gae haiM tathA 'raTTha sAnucaraM hantvA ' ke sthAna para 'veyyagghapaMcamaM hantvA ' pATha hai| isa prakAra kI gUDhatA se yukta sthaloM ko karanA, vyAkhyA ke dvArA unakA jo yathArtha abhiprAya hai-ThIka ThIka tAtparya hai, use batAnA vyAkaraNa hai| phira anucara yahA~ mAtRghAta se abhiprAya tRSNAnirodha se hai| aTThakathAkAra ne ise spaSTa kiyA hai| 'tRSNA mAtA' arthAt tRSNA mAtA hai| pitRghAta se abhiprAya ahaMtA ahaMbhAva ke nivAraNa se hai| aTThakathAkAra ne ise spaSTa karate huye kahA hai - ' asmimAno pitA ' arthAt maiM 'hU~' isakA mAna karanA hI yahA~ pitA zabda se abhipreta hai| kSatriya hoM cAhe zrotriya hoM athavA bahuzruta hoM / yahA~ rAjayugala ke badha se abhiprAya zAzvata dRSTi aura uccheda dRSTi ko dUra karane se hai| aTThakathAkAra ne ise spaSTa karate hue kahA hai-' sarasatucchedadiTThiyo dve rAjAno' arthAt zAzvata dRSTi, nityadhruva - kUTasthavAda kI dRSTi evaM uccheda dRSTi, anta - abhAva - vinAza kI dRSTi do rAjA hai / sAnucara rASTraghAta se abhiprAya tRSNA sahita dvAdaza AyatanoM ko damana kara lene se hai| aTThakathAkAra ne ise spaSTa karate hue kahA hai - dvAdasAyatanAni raTTha' arthAt bAraha Ayatana rASTra haiN| Ayatana bAraha yoM haiM - - chaha indriyA~ - cakSu, zroSa, ghrANa, jihvA, kAya evaM mana / chaha viSaya-rUpa, zabda, gandha, rasa, spraSTavya evaM dharma // ra ko spaSTa karate hue aTThakathAkAra ne batAyA hai - nandirAgo anucaro / tRSNA, AsaMga, Asakti, -223

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nandirAga Adi paryAyavAcI zabda haiN| yaha saba naSTa karake saMskRta gAthA ke anusAra AdamI zuddha kahalAne lagA hai| pAli meM brAhmaNa (arhat) yaha saba kara cukane para duHkha rahita hokara vicaratA hai| aTThakathAnusAra 'anIgho nidaduHkho' hai| dhammapada kI jo dUsarI gAthA isa prasaMga meM AI hai, usameM vyAghrapaMcama ke ghAta kI bAta AI hai| (veyyagghapaMcamaM hantvA) zabdArtha yoM haiM, vyAghra jinameM pA~cavA~ hai, aise nIvaraNoM ko naSTa kr| nIvaraNoM ko jisa krama se ginA jAtA hai, usameM pA~cavA~ nIvaraNa vicikitsA hai| abhiprAya yaha hai ki pA~cavA~ nIvaraNa (avarodha-tattva hindrance) jinameM vicikitsA hai, usa nIvaraNa samUha ko naSTa karake, anIgho yAti brAhmaNo, brAhmaNa duHkha rahita hokara vicaraNa karatA hai| nIvaraNa ye haiM- 1. kAmacchanda nIvaraNa, 2. vyApAda nIvaraNa, 3. styAnamiddha nIvaraNa, (thInamiddha nIvaraNa) 4. auddhatya-kaukRtya nIvaraNa, (uddacca-kukkucca nIvaraNa) 5. vicikitsA nIvaraNa, (vicikicchA nIvaraNa, isI ko gAthA meM vyAghra kahA gayA hai ) 6. avidyA nIvaraNa (avijjA nIvaraNa) isa prakAra ke gUDhArthoM kI vyAkhyA karanA vyAkaraNa hai| bodhisattva hokara buddhattva taka pahu~canA bhI sAdhanA mArga kA lakSya thaa| arhat eka kSetra meM eka samaya bahuta ho sakate hai| para buddha eka kSetra meM eka samaya eka hI hote haiM saMdarbha - 1. milindapajaho, anupiTaka sAhitya kA buddhavacana ke samAna mAnya grNth| pAli sAhitya kA itihAsa, bharatasiMha upAdhyAya, pRSTha-8, hindI sAhitya sammelana prakAzana, ilAhAbAda 3. gAthA-vRddhi ke udAharaNoM aura unake kAraNoM ke adhika vistRta vivecana ke liye dekhie baDuA aura mitra prAkRta dhammapada , pRSTha-31, (bhUmikA ?) DaoN.vimalAcaraNa lAhA ne 'hisTI oNpha pAli liTarecara ' jilda pahalI, pRSTha 200-214 ke aneka pada-saMketoM meM upaniSada, mahAbhArata, gItA, manusmRti Adi graMthoM se uddharaNa dekara dhammapada kI gAthAoM se unakI samAnatA dikhAI hai| isa viSaya kA adhika tulanAtmaka adhyayana bhI kiyA jA sakatA hai|) 5. bauddhasiddhAnta vimarza, zAnti bhikSu zAstrI, prakA.bauddha adhyayana vibhAga, dillI vizvavidyAlaya, dillI -0-0-0 1-224

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26. mahAkavi svayambhU aura unakA paumacariu prAkRta evaM apabhraMza bhASAoM kA kSetra prAyaH eka sA thA tathA eka vizeSa prakAra kA sAhitya inameM likhA gayA hai| vikAsa kI dRSTi se bhI inameM ghaniSTha sambandha hai| ata: kaI vidvAnoM ne prAkRta apabhraMza ko eka mAna liyA hai, jabaki ye donoM svataMtra bhASAe~ haiN| apabhraMza jana-sAmAnya kI bhASA kA pUrNatayA pratinidhitva karatI hai| isake atirikta vibhakti, pratyaya, parasargo meM bhI prAkRta aura apabhraMza spaSTa antara hai| apabhraMza meM dezI rUpoM kI bahulatA hai| yaha ukAra bahulA bhASA hai| ' -zrImatI DaoN. saroja jaina, zravaNabelagolA apabhraMza ko AbhIrI, bhASA, dezI evaM avahaTTha Adi kA nAma bhI samaya-samaya para diye gaye haiN| ye saba nAma apabhraMza ke vikAsa ko sUcita karate haiN| pazcimI bhArata kI eka bolI- vizeSa AbhIrI se apabhraMza prabhAvita hai, bhASA kI bolI hone se ise bhASA kahA gayA hai| kathya bhASA hone se yaha dezI kahI gayI hai tathA paravartI apabhraMza lie vaha kahA gayA hai, jo apabhraMza aura hindI ko paraspara jor3ane vAlI kar3I hai| vaha Adhunika bhAratIya AryabhASAoM kI pUrvavartI avasthA hai| ' mahAkavi svayambhUH apabhraMza ke Adi kavi ke rUpa meM svayambhU ko smaraNa kiyA jAtA hai| aba taka upalabdha apabhraMza racanAoM svayaMbhU kI prasiddha racanAe~ - paumacariu, riTThaNemicariu evaM svayaMbhUchanda unakI kAvya-pratibhA kA pratinidhitva karatI haiN| yadyapi svayaMbhU ne apane granthoM meM apabhraMza ke pUrvavartI kaviyoM-caturmukha, IzAna Adi kA ullekha kiyA hai, kintu inake sAhitya Adi kA pUrA paricaya upalabdha na hone se unakI kAvya-pratimA kA mUlyAMkana nahIM kiyA jA sktaa| ataH na kevala dakSiNa bhArata ke apabhraMza kaviyoM meM, apitu sampUrNa apabhraMza sAhitya meM svayambhU kA yogadAna vizeSa artha rakhatA hai| svayambhU apabhraMza ke pahale mahAkavi haiM, jinhoMne rAma aura kRSNa - kathA ko prabandha-kAvyoM kA viSaya banAyA hai|' jisa prakAra saMskRta aura prAkRta kI sAhityika kRtiyoM kA zubhArambha rAmakathA se hotA hai usI prakAra svayambhU ne apabhraMza sAhitya meM bhI paumacariu nAmaka pahalA prabandha-kAvya likhaa| apabhraMza meM kRSNa aura pANDava-kathA ko sarvaprathama kAvya rUpa meM prastuta karane kA zreya svayambhU ko hai / jaina sAhitya meM kRSNa-kathA ko vyavasthita svarUpa pradAna karane meM bhI svayambhU yoga hai| sAhitya evaM bhASA ke kSetra meM svayambhU ke yogadAna ko dekhate hue unheM apabhraMza kA yuga pravartaka kavi kahA jA sakatA hai| unhoMne bhAratIya kAvya kI aneka kathAoM aura abhiprAyoM ko vikasita kiyA hai| apabhraMza jaisI loka bhASA ke svarUpa ko susthira kara use mahAkAvya ke upayukta banAvA hai tathA saMvAdatattvoM evaM sUktiyoM Adi se use samRddha kiyA hai| DaoN. saMkaTA prasAda upAdhyAya ne kavi svayambhU 'pustaka meM vizeSa adhyayana prastuta kiyA hai| nAmaka 225

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svayambhU ke janma-sthAna evaM janmakAla sunizcita nahIM haiM, kintu unakI racanAoM se jJAta hotA hai ki ve yApanIya saMgha se sambandhita the| karnATaka unakI kAvya-sAdhanA kA pramukha kSetra thaa| kavi ke janma-kAla ke sambandha meM vidvAnoM ke vivecana se yaha niSkarSa nikalatA hai ki ve I. 677 se I. 959 ke bIca kabhI hue the| kavi ne AcArya jinasena (I. 783) ko apane 'riThThaNemicariu' meM smaraNa kiyA hai tathA mahAkavi puSpadanta (I. 959) ne svayambhU kA ullekha kiyA hai| ataH mahAkavi svayambhU AThavIM zatAbdI kA uttarArdha evaM navIM ke pUrvArdha meM hue hoNge| mahAkavi svayaMmbhU kI abhI kA taka prApta kula tIna racanAe~ haiM - 1. paumacariu, 2. riThThaNemicariu aura 3. svymbhuuchnd| anumAna se unake tIna grantha aura mAne jAte haiM - suddhayacariu, paMcamIcariu evaM svayambhU vyaakrnn| ye grantha abhI upalabdha nahIM hue haiN| inakI upalabdha racanAoM kA vizeSa paricaya DaoN. upAdhyAya ne apane zodha-prabandha meM diyA hai| paumacariu likhane kA uddezya - paumacariu ke nirmANa meM kavi svayaMbhU kA pramukha uddezya isa graMtha ko kAvya banAnA rahA hai| paumacariu ke AraMbha meM maMgalAcaraNa ke turanta bAda kavi kahate haiM ki dIrgha samAsa jisake mRNAla haiM, zabda patte haiM, artha ke parAga se jo suvAsita haiM aura vidvAn bhramara jisakA rasa pAna karate haiM, svayaMbhU kavi kA aisA kAvya-kamala jayazIla ho| isa rAmAyaNa kAvya ke mAdhyama se kavi apane Apako prakaTa karatA hai| tadanantara AcArya raviSeNa ke prasAda se kavirAja svayaMbhU ne apanI buddhi se rAmakathA kA avagAhana kiyaa| apane Apako kavirAja tathA apane graMtha ko kAvya grantha kahane se svayaMbhU kA apane grantha ko kAvya grantha banAne kA uddezya spaSTa hotA hai / kavi kahatA hai ki maiM vyAkaraNa Adi nahI jAnatA, phira bhI isa kAvya - prayatna ko nahIM chor3a pA rahA hU~ aura chandabaddha kAvya kI racanA karatA hU~vavasAu to vi Nau pariharami, vari raDDAvadhdu kavvu krmi| -pa.ca. 1.3 kavi kI vinamratA - purANoM kI rIti ke anurUpa kAvya ke Arambha meM kavi ke vinamratA pUrvaka Atma-nivedana kA ullekha milatA apabhraMza ke mahAkavi puSpadanta ne svayaMbhU kavi ko vyAsa, bhAsa, kAlidAsa, bhAravi, bANa, caturmukha Adi kI zreNI meM virAjamAna kiyA hai| anya kaviyoM ne unheM mahAkavi, kavirAja, kavirAja cakravartI jaisI upAdhiyoM se sammAnita kiyA hai| hindI bhASA evaM sAhitya ke jAne mAne samIkSaka rAhula sAMkRtyAyana ne unheM hindI ke pA~coM yugoM ke kaviyoM meM sabase bar3A batAyA hai| aise pratibhA sampanna kavi svayaMbhU budhajanoM ke prati nivedana karate haiM ki 'mujha jaisA anya koI kukavi nahIM hai| maiM vyAkaraNa nahIM jAnatA, vRttiyoM, sUtroM, pratyAhAroM, saMdhiyoM evaM vibhaktiyoM kA mujhe jJAna nahIM haiM, paMca mahAkAvyoM aura bhArata ke nATyazAstra ko maiMne sunA nahIM .... aadi-aadi| unakI yaha vinamratA budhajanoM ke prati hI hai| duSToM kI to ve upekSA karate hue kahate haiM ki duSTajanoM kI abhyarthanA karane se kyA lAbha, , jise -226

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koI bhI bAta acchI nahIM lgtii| yathA visuNe kiM abbhatthieNa jasu ko vi Na ruccai / kiM chaNacandu mahAgaheNa kampantu vi muccai ||-p.c. 1.3 paumacariu kI kathAvastu paumacariu kI kathAvastu ko kavi ne kANDoM meM vibhakta kiyA hai| kathAvastu ko kANDoM meM vibhAjita karane meM inhoMne mahAkavi vAlmIki kA anusaraNa kiyA hai| isameM pA~ca kANDa haiM - vidyAdhara kANDa, ayodhyA kANDa, sundara kANDa, yuddha kANDa aura uttara kaanndd| vidyAdharakANDa- vidyAdhara kANDa meM varNita indra, bAli aura rAvaNa kramazaH vidyAdhara vaMza, vAnara vaMza tathA rAkSasa vaMza ke pratinidhi rahe haiN| bharata evaM bAhubali ne ikSavAku vaMza kA pratinidhitva kiyA hai| inameM prAraMbha kI cAra saMdhiyoM meM ikSvAkuvaMzI RSabha aura unake putra bharata tathA bAhubali kI kathA hai| bharata aura bAhubali ke yuddha kA kathana bhI isameM kiyA gayA hai| zeSa solaha saMdhiyoM meM eka hI vaMza se udbhUta vidyAdhara, vAnara aura rAkSasavaMza kI paraspara IrSyA, prIti, pratiyogitA aura yuddhoM kA kathana milatA hai| svayaMbhU kavi ne isameM yaha bhI batAyA hai ki inameM ye tIna vaMza - vidyAdhara, rAkSasa evaM vAnara paraspara cAhe kitanA hI lar3e hoM aura inameM kitanA hI vaimanasya rahA ho kintu ikSvAkuvaMza kA inase kisI bhI bAta ko lekara AmanA-sAmanA nahIM huA, balki ina tInoM kA isa vaMza se AdarasammAna kA bhAva hI rahA hai| ayodhyA kANDa - ayodhyA kAMDa kI prArambhika tIna saMdhiyA~ zrI rAma ke vivAha evaM vanavAsa se sambandhita haiN| isake bAda 24 se 35 taka kI saMdhiyoM meM rAma-lakSmaNa ke zaurya, parAkrama, zaraNAgata-rakSA tathA jinadharma ke siddhAntoM se sambandhita avAntara kathAe~ haiN| sundara kANDa - yaha hanumAna kI vijayoM kA kANDa hai| mandodarI, sItA va rAvaNa ke paraspara vArtAlApa se sundarakANDa kI sundaratA bar3ha gaI haiN| yahA~ kavi kI svatantra udbhAvanA kA bahuta hI maulika citraNa huA hai| yuddha kANDa - yuddha kANDa kA Arambha vibhISaNa kA rAvaNa ko tyAgakara rAma ke dala meM milane kI ghaTanA se hotA hai| yuddha kANDa kA mukhya kAvyAtmaka AkarSaNa 62vIM saMdhi meM hai| isameM rAvaNa gupta rUpa se rAtri meM laMkA nagara me ghUmakara apane yoddhAoM kI ramaNiyoM kA vArtAlApa sunatA hai jisameM unakI sammohaka ceSTAoM ke bIca romAMcakArI uktiyA~ saMjoyI gayI haiN| yaha zrRMgAra aura vIra rasa ke saMyoga kA durlabha udAharaNa hai| svayaMbhU kavi ne yuddha kANDa meM vIra, zrRMgAra, karuNa evaM zAnta rasa ke rUpa meM eka sAtha cAra rasoM kA saphalatApUrvaka samAveza kara adbhuta kAvyatva pradarzita kiyA hai| -227

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caritra citraNa - paurANika mahAkAvya paumacariu ke sabhI pAtra sabake lie cira paricita haiN| ina sabhI pAtroM ke caritra-citraNa meM kavi svayaMbhU kI apAra mArmikatA, hRdayagrAhitA aura prabhAvakAritA dikhAI detI hai| rAma aura sItA sabhI pAtro meM pradhAna haiN| rAma-rAma ke jIvana ke anukaraNa se pratyeka mAnava apanI jIvanayAtrA ko kramazaH sArthaka banA sakatA hai| nAyaka ke caritra ke mAdhyama se mahAkAvya ke isa mahat uddezya kI abhivyakti karane meM kavi pUrNataH saphala siddha hue haiN| kaikeyI ke dvArA apane putra bharata ke lie rAjya mAMgane se lakSmaNa ko bharata - kaikeyI aura dazaratha para kruddha aura anartha karane para tulA dekhakara dUradarzI rAma AgAmI pArivArika kalaha ko jAna lete haiN| ve yaha bhI jAna lete haiM ki unake ayodhyA me rahate bharata ke lie rAja karanA saMbhava nahIM hogaa| taba pati ke Adeza ko svIkAra kara rAma sAtha meM calane ko taiyAra sItA aura lakSmaNa ko sAtha meM lekara svecchA se vana kI rAha lete haiN| taba bharata ke prati IrSyA dveSa se rahita rAma pArivArika kalaha kA nivAraNa karate haiN| ve kahate haiM ki jisa kArya se pitA kA vacana khaNDita ho usa rAjya ko kyoM liyA jAya- rajje kijDa kAI tAyaho saccaviNAseM - pa.ca.23.8 gaMbhIra nadI ke taTa se AtI huI bharata kI senA ko nItiparAyaNa rAma yaha kahakara lauTA dete haiM tuma loga Aja se bharata ke sainika bno| rAvaNa kI mRtyu ke bAda bhI rAma vibhISaNa ke anunaya vinaya para hI sItA se milane nandanavana meM jAte haiN| rAma ke vana-gamana para sajjanoM kI rakSA aura duSToM ke dalana aura mAna-matsara bhaMga kI aneka ghaTanAe~ hotI haiN| Adarza zAsaka ke rUpa meM rAma ne AjIvikA ke lie sArI dharatI sAmantoM ko bAMTa dI aura logoM ko jIvana-dAna diyaa| unhoMne yaha ghoSaNA kI ki jo bhI rAjA huA hai yA hogA usase maiM yahI cAhatA hU~ ki vaha duniyA~ meM kisI ke prati kaThora na hove / nyAya se dasavA~ aMza lekara prajA kA pAlana kre| vahI rAjA avicala rUpa se rAjya karatA hai - jo dharatI kA pAlana karatA hai, prajA se prema rakhatA hai tathA naya aura vinaya meM AsthA rakhatA hai| lokamata kA Adara karate hue rAma ne apane rAjapada kA nirvAha kiyaa| sItA- paumacariu meM sItA nArI-sulabha sahaja bhAvoM se yukta hone se sahaja citta haiN| isa rUpa meM ve kabhI bhayabhIta hokara karuNa vilApa karatI huI apane bhAgya ko kosatI najara AtI haiM to kabhI mAtRtva bhAva se zubhakAmanAe~ detI huI dikhatI haiN| vahI sItA jaba rAvaNa dvArA haraNa kiye jAne para rAma se viyukta hotI haiM to apane zIla kI rakSA ke prayatna meM kaThora bana jAtI haiN| inake jIvana meM zIla ke saundarya ko vikRta karane vAle aneka upasargakArI prasaMga Ate haiM kintu sItA upasargoM kI usa ghar3I meM avicalita hokara apane zIla kI rakSA to karatI hI hai sAtha hI upasarga karane vAloM ko bhI prabhAvahIna kara detI hai / paumacariu kAvya kI sItA eka aisA Adarza ratna hai jo pratyeka mahilA ko sahaja citta, zIlavAna, guNAnurAgI tathA nItijJa banane kA saMdeza detI hai|' vaha yaha bhI ghoSaNA karatI hai ki ina guNoM ko apanAkara Aja bhI vaha vizva ke sandarbha meM bhAratIya saMskRti ke lupta hote hue gaurava ko punaH pratiSThita sthAna dilavAne meM samartha haiN| usa satI sItA kA mana rAvaNa usI prakAra nahIM pA sakA jaise mUrkha vyakti vyAkaraNa kA bheda nahIM prApta kara paataa| yathA -para-purasehiM Nau cittu laijjaI, vAlehiM jiha vAyaraNu Na bhijjai - pa.caM. 44.10 228

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prakRti varNana - paumacariu meM prakRtivarNana ke ullekha vastugaNanA, alaMkAra, uddIpana evaM mAnavIkaraNa ke rUpa meM milate haiN| RSabhajina zakaTamukha nAma ke udyAna meM Akara Thaharate haiM, paumacariu meM usa udyAna ke viSaya me lambI sUcI ginAI hai|" nandanavana ke vRkSoM kI parigaNanA karate karate to svaMyabhU thaka se gaye pratIta hote haiM aura ve kaha uThate haiM ki aura bhI bahuta se vRkSa haiM jinheM kauna samajha sakatA hai| varuNakumAroM ke sAtha rAvaNa aise krIr3A kara rahA hai mAno baila jaladhArAoM ke sAtha khela rahA ho / yahA~ prakRti kA alaMkAra rUpa meM citraNa milatA hai| Ate hue vasaMta kI Rddhi dekhakara madhu, ikSurasa aura surA se masta bholI-bhAlI narmadA rUpI bAlA aise macala uThI mAnoM kAmadeva kI rati ho, yahA~ uddIpana rUpa meM prakRti kA citraNa hai| kahIM pahAr3oM ke zikhara isa taraha kAMtihIna ho rahe the, mAnoM kAle raMga se pute hue duSTa mukha hoM, yahA~ mAnavIkaraNa ke rUpa meM prakRti kA citraNa huA hai / svayambhU ke paumacariu meM vividha alaMkAra prayukta hue haiN|" yuddha ke varNana meM jaba lakSmaNa ko zakti lagI to kavi kahatA hai ki lakSmaNa ne usa zakti kA usI prakAra dhAraNa kiyA jisa prakAra zivajI ke dvArA bAyeM aMga meM pArvatI ko dhAraNa kiyA jAtA hai| yathA - vi dhariya eMti NArAyaNeNa, vAmahade gori va tiNayaNeNa / - pa.ca. 31.13 isI prakAra rAjA dazaratha kA sevaka kaMcukI apanI vRddhAvasthA kA varNana karate hue kahatA hai ki merI prathama Ayu yauvana ke sira para bur3hApe kI saphedI isI prakAra AkAra laga gayI hai jaise koI asatI strI sira para A baiThe-paDhamAsU jara dhavalanti Aya, puNu asai va sIsavalagga jAya / - pa.ca., 22.2 rasa- rasabhivyakti kI dRSTi se paumacariu meM hameM mukhyataH zAnta, vIra, zrRMgAra aura karuNa rasa milate haiN| karuNa rasa kI abhivyakti paumacariu meM aneka sthaloM para huI hai| zAnta rasa ke rUpa meM paumacariu meM aneka aise sthala milate haiM jinameM saMsAra ko tuccha, nazvara aura duHkha bahula batalAkara tathA zarIra kI kSaNabhaMguratA kA pratipAdana kara saMsAra ke mithyAtva kA upadeza dete hue usake prati virakti kA bhAva paidA kiyA gayA hai| aise nirveda bhAva ke sthaloM me zAnta rasa abhivyakta huA hai| alaMkAra upamA kAlidAsasya ke samAna svayaMbhU kA sarvapriya alaMkAra utprekSA hai| utprekSA kA prayoga paumacirau meM pada-pada para anAyAsa milatA hai| kaDavaka ke kaDavaka utprekSA kI lar3iyoM se bhare haiN| jaise rAvaNa ne acAnaka mandodarI ko dekhA mAnoM bhramara ne abhinava kusumamAlA dekhI ho / mandodarI ke pairoM ke bajate hue nUpura aise mAlUma hote haiM mAno bandIjana madhura zabdoM kA pATha kara rahe hoN| car3hatI huI romarAji aisI thI mAnoM kAlI bAlanAgina hI zobhita ho rahI ho, aadi-aadi| vanagamana ke samaya ke varNana meM kavi kahatA hai ki jAnakI sItA apane ghara se usI prakAra nikala gayI mAnoM himavaMta parvata mahA nadI gaMgA nikalI ho - Niya maMdiraho viNiggaya jANai, NaM himavaMtaho gaMga mahANai / - pa.ca. 23.6 229

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vaizvika mahatva kI sUktiyA~ mahAkavi svayambhU kI racanAoM meM unake vyAvahArika anubhava sUktiyoM ke rUpa meM prApta hote haiN| Aja ke vizva ko ina sUktiyoM se protsAhana milatA hai| kavi ko yaha vizvAsa hai ki usake kAvya-vacana subhASita kI taraha amara raheMge - hontu suhAsiya vayaNAi~ (pa.ca., 1.1) / isa grantha kI katipaya sUktiyA~ yahA~ draSTavya haiM :-12 1- tiha jIvahi, jiha paribhamai kitti - aise jio, jisase kIrti phaile| 2- tiha hasu, jiha Na hasijjai jaNeNa - aise haMso, jisase loga tuma para na hNse| 4- tiha bhujju, jiha Na muccahi dhaNeNa - itanA kharca karo (bhoga karo) jisase nirdhana na ho jaao| 4- tihaM rajju pAle, jiha Navai sattu - aisA zAsana karo, jisase zatru bhI jhuka jaay| 5- jo jasa bhAyaNDa so taM dharai - jisakI jitanI yogyatA hai use utanA hI milatA hai| 6- volijjai taM jaM Nivvahai - jitanA nibhA sako utanA hI bolo| sandarbha rAmasiMha tomara- prAkRta aura apabhraMza sAhitya tathA unakA hindI sAhitya para prabhAvaH prayAga vizvavidyAlaya, pryaag| pro. harivaMza kochar3a - apabhraMza sAhitya, bhAratIya sAhitya mandira, dillii| jaina, hIrAlAla, NAyakumAraciu kI bhUmikA, dillI DaoN. zambhUnAtha pANDe - apabhraMza aura avahaTTha eka antaryAtrA, caukhambhA pablizarsa vaaraannsii| bhAyANI, eca.sI., paumacariu kI bhUmikA, bambaI harIza, AdikAlIna hindI sAhitya upAdhyAya, saMkaTA prasAda, kavi svayambhU , alIgar3ha paumacariu, prathama saMdhi zarmA, yogendranAtha, svayambhU evaM tulasI ke nArIpAtra, meraTha, 1979 paumacariu, sampAdaka - bhAyANI, bambaI sogAnI, ke.sI., apabhraMza abhyAsa saurabha, jayapura jainavidyA (zodhapatrikA) - svayambhU vizeSAMka, zrImahAvIrajI, 1984 12 -0-0-0 -230

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27. vissasaMtie pavayaNapAhaDassa jogadANaM - pro. DaoN. zreyAMza kumAra siMghaI, atha khalu vissasaMtI amhANaM savvesiM savvahA uvAdeA / bhArateNa puNa raTTheNa vissasaMtikkhette sageNaM ajjhAtamavijjAmahatteNaM paDhamaM ThANaM samuvaladdhaM AsI / tassa kAraNaM NAyade purAvattiNaM ajjhAtamataccavijjAviNNANaM risIvarANaM sAhINaM suhaM laddhuM vAvAro NAma / tesiM risivarANaM taccaNANasamaveaM sAhiccaM pavayaNasuhaNihi vya bhAratas akkhuNNaM amullaM ca NANadhaNaM NeyaM / atthi khalu pavayaNapAhuDaM egaM mahattapuNNaM NANadhaNaM / pAiyabhAsammi edaM kuMdakuMdarisivareNa khiTThaddassa paDhamasayage viraiyaM / eso puNa suttagaMtho saMpaaM ajjhAtamavijjaM viNNAduM amhANaM savvesiM uvayArao atthi tti vattuM sakkijjai / muttipurisatthamamhehiM kiM kajjaM karaNijjaM tti parUvaNaM pavayaNapAhuDassa pamuho visayo NAdavvo / T dukkhavimuttI saMtilA aparihajjA havadi / jeNa puNa dukkhavimuttI hoi so khalu muttipurisattho muNedavvo / appasaMtie ca so purisattho amhehiM savvehiM caridavvo / appasaMtiM viNA vissasaMti kahaM hoi / appaNo savvesiM ca dukkha parihAro jaha bhave tava vissasaMtitthaM samma purisattho hoDhuM sakkijjai / etadatthaM pavayaNapAhuDaM NAma gaMtho phuDaM uvadisadi tamhA tassa jogadANaM vissasaMtie atthi tti NAduM sakkijjai / pavayaNapAhuDaM pamuhavibhAgeNaM ahiyAratigesu vibhattamatthi jaha NANapaNAvaNaM NeyapaNNAvaNaM rAjoliyA / NANapaNAvaNe NANassa mulaM paDivAdidamatthi / tattha adiMdiyaM NANaM suhassa pamuhaM kAraNaM vaNidaM teNeva suhamadiMdiyaM jAyate tadeva sammaM suhaM / yadA hi appA sammaM suhaM jaNayadi tadeva tamhi saMti saMbhavei / egassa egassa appaNo saMtie vissasaMti hoDhuM sakkai / parAmaNoviNNANaM loye sAdisayaM maNNaMti jaNA / adiMdiyaNANamiNaM tArisaM hi pavayaNapAhuDe padassidaM vaTTade / uttaM ca - apadesaM sapadesaM muttamamuttaM ca pajjayamajAdaM / palayaM gayaM ca jANadi taM NANamadiMdiyaM bhaNiyaM // adiMdiyaNANaM iMdiyamaNavAvArasuNNattAdo NiyappasahAvANubhave sakkhamaM NeyaM / edeNeva appA appamma hodi teNeva khalu carittaM pADubbhavadi / carittameva dhammo yo / so dhammo khalu pavayaNapAhuDe / mohakkhohavihINo appaNo samattapariNAmo hi viNNAvido sUrivudehiM kuMdakuMdadevehiM / taM jadhA - jayapura - caritaM khalu dhammo dhammo jo so samo tti NidiTTho / mohakkhahavihINa pariNAmo appaNo ha samo // -231 - caritahINaM NANaM mohakkhohajaNittAdo saMtiyaraM Na hoi / carittagabbhiyaM NANaM NANagabbhiyaM ca caritaM parappharaM suhayaraM Neyamidi pavayaNapAhuDaM phuDaM paruvei / tattha jAIsaMppadAyavaggAdINaM sosaNAipavuttINaM chalavijjovajIvidhammavavahArassa ca pabhAvo Natthi / gAhA 1/7

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tajjahA pavaNapAhuDe suhova ogo suddhovaogo ca kameNa i7 diyasuhassa paramaTThasuhassa ca kAraNaM paNNAvidaM sUrihiM / dhammeNa pariNadappA appA jadi suddhasaMpayogajudo / pAvadi NivvANasuhaM suhovajutto va saggasuhaM // - gAhA 1/11 iMdiyasuhassa paramaTThasuhassa ca takkaNiTThaparUvaNA attha pavayaNapAhuDe lahijjai / jeNa eriso boho phuDaM jAyade iMdiyasuhaM vissasaMtie heU Natthi jado iMdiyasuhalAhe visayabhogAhilAso jIvesu baDDhei / savve savvAdhiyA vA visayabhogapayatthA mama saMtu tti bhAvaNA hi jIvesu pavaTTamANA pavaDDhamANA ca saI vissasaMtiM paDi bAdhayaM kAraNaM hodi / paramaTThasuhAhilAseNa Na hoi khalu erisI bhAvaNA tamhA paramaTThasuhAhilAso tadatthaM ca purisattho vi vissasaMtiM paDi heU mudavyo ti taccaM NANapaNNAvaNeNa pavayaNapAhuDassa NAduM sakkijjai / yapaNAvaNeNa ca Airiyo atthaM NeyabhadANaM payatthANaM sammaM viveyaNaM karIa / viveyaNaselI tattha daMsaNasatthIaM mahattaM lhde| vatthuNo sammaM sarUvamahigaMtuM ahiyAro esa accataM uvayogI kappade / sAvadhANeNa yadi vayaM paDhema taddhi tassa boho jAyade tti mama mai / attha davvaguNapajjayANaM parappharamaviNAbhAvasaMbaMdho NiddiTTho / ' davvavijuttaM guNapajjAyA Natthi tti parUvidaM / davvaM khalu uppAdavvayadhuvattasaMjuttaM vaNNidaM / ' joNhANaM mate guNaguNINaM parappharaM addetaccaM (advaitattvaM ) vaTTade / davve davve addetadA (advaitatA) pagaDidA hodi / vittaM payatthaparUvaNA vatthuviNNANaM va jaha sUrihiM edammi NeyapaNNAvaNeahiyAre varaNijjai taha tadavabohaNeNa sahaje aMdhavissAsANaM parihAro saMbhavadi / vatthuvisayagaM aNNANameva vatthudo savvesiM dukkhayaraM hodi / teNeva ca jaNA parapIDaNavavahAre pvtttthte| pavayaNapAhuDaM paDhiUNa vatthuvisaye ca tado sammaM NANaM lahidUNa NippakkhA buhajaNA vavaharaMti jadA tadA tesiM maNe parapIDaNabhAvaNeva Na jaNayadi / parapIDaNabhAveNa Na bhave savvesiM ca hiyaciMtaNameva siyA tti bhAvaNA jadi pavayaNapAhuDassa paDhaNeNa maNe pADubbhave taddhi kaha kahaM khalu pavayaNapAhuDaM vissasaMtiM paDi mahattapuNNaM Natthi tti / pavayaNapAhuDassa NeyataccaparuvaNayA 5 vatthUNaM parappharaM saMbaddhatteNa sAgaM sataMttamUlaM taccaM aNAiNihaNattaM ca NAdUNaM veNNANiyajaNA vi pabhAviyA huMti / tado puNa te Niyamado jIvaNassa acedaNavatthUNaM ca rahassaM NAduM samatthA huMti ti vattuM skkijji| avassameva vatthUNaM saccapariNNANeNa buddhisAliNo jaNA sagajIvaNassa saccamahigamIya saMtiM suhaM va anubhavaMti vissasaMtiM paDi ca pavaTTaMte / jIvassa dukkhassa pamuhaM kAraNaM kammabandho bhvdi| sa ca kahaM hodi keNa ca payAreNa tado mutti hoDhuM sakkijjaitti parUvaNamavi edammi ahiyAre atthi / tamahigamiya jIvA sammaM purisatthaM karaMti suhaM ca lahaMti tti kiccA jaM vattavyaM vaTTade attha gaMthe teNa sahajeNaM vissasaMtisikkhaNaM havadi tti mamAhimadaM NeyaM / caraNANujoyacUliyA NAma ahiyAre muNidikkhappasaMgo uvaTThAvido vaTTade / tattha muNijIvaNassa kajjaM kahaM karijjaitti sammaM NirUvidaM jAaM / savvattheva ahiMsAmaiyo vavahAre samaNadhammo va mahattaM lahadi / vissasaMttie puNa ahiMsAvavahAro apariho hoditti ahimadaM savvesiM atthi Natti tattha lesamatto vi vivAdo tamhA amhehiM savvehiM taccamUlatteNaM ahiMsAparipuNNaM jIvaNaM samahigaMtavvaM / -232

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jaha khalu ahiMsAtaccaM vissasaMtie mahattapuNNaM hodi taheva apariggahapaDiThThAvaNAdo ahiMsAmUlattAdo ya samaNadhammo vi Neyo! aNagArA samaNA ahiMsAdINaM pAlaNaM savvadeseNa savvahA va kuvvaMti apariggahadhammadhuraMdharA ca huNti| sAmAjiyajaNA vi ahiMsAsamalaMkidassa apariggahadhammassa paripAlaNaM yadA egadeseNeva sagasagajIvaNe kuvvaMti tadA sahajarUveNeva tehiM jIvaNe saMti sNbhvei| vissasaMtitthaM jaNANaM jIvaNaselI ahiMsappahANA bhave / saccANurAyaparipuNNA samattabhAvasamavedA saMtosaguNasaMbharidA apariggahadhammapavittA ya sAgArassa jIvaNadhArA pvhe| pavayaNapAhuDaM puNa paDipadaM tadatthameva uvadisadi tamhA vissasaMtie tassa jogadANaM NA, battuM ca skkijji| vissasaMtie samaNo kahaM hoi tti NidaMsaNagAhA - samasattubaMdhuvaggo samasuhadukkho pasaMsaNiMdasamo / samaloTTakaMcaNo puNa jIvidamaraNe samo smnno|| jiNadhammassa ahisAmaaM saccagabbhiyaM mahattaM samAkalINa amhANaM raTThapiAe mahappagaMdhI mohaNacaMda karamacaMda NAmadhArI mahApuriseNa khalu sagIye jIvaNe ahiMsAsIlattaM saccaNiTuM vayaNavavahAraM apariggahabhAvasamavedaM ca mucchAvihINaM cArittaM samAcaridaM jaNaceyaNaM raTThaceyaNaM va saMpuNNe vi dese jaagridN| jado raTThamiNaM parattaMtasAsaNado vimuccIbhUya satattaM jaadN| saMtattajIvaNameva suhayaraM hodi| evaM puNa saMtattajIvaNAhiyAro appasaMtie virasasaMtie ca kahaM Na uvAdeo hoi ? ajja vi savva vi ya rAyaNIIkusalA sAmAjiyA va jaNA savvavihapayatteNaM satattaraTThiyataccameva vAMchaMti tamhA satattamUlassa jIvaNAhiyArassa mahattaM kahaM Na NAyade? NAyade khalu taM punnnnruuvenn| jIvaNAhiyAro khalu jehiM ahiMsAdimullagabbhiyehiM pavittehiM saMsAraNehiM bhAratadese jaNANaM samuvaladdho AsI tesiM savvesiM parUvaNA pavayaNapAhuDe bIyarUveNa vaTTade khlu| kuttha vi sataMttaraDhe vissasaMti edehiM pavittasAhaNe hiM jaha ahiMsAsIle hiM saccavavahAre hiM apariggahabhAvasamavedacarittehiM ceva saMbhavei Na puNa annnnhaa| tamhA phuDaM NAyade vissasaMtie khalu edesiM ahiMsAdimullANaM mahattaM uvajogo atthi tti| vatthudo maNujajIvaNe ahiMsaNavavahArassa visiTuM ThANaM atthi| hiMsaNavavahAro khalu samAje savvaheba ziMdaNIyo hoi! teNa ko vi lAho nntthi| kimavi samAdhANaM hiMsaNakammuNA Neva laddhaM NedANI lhde| ahiMsA hi maNujajIvaNe saMtiyaraM sAhaNaM abbhuvagaMtavyaM vttttde| ahiMsAmajjhameNaM loyahiyayarANaM savvahisamassANaM suTTha suTThira va samAhANaM lar3e skkiji| attha savvesiM rAyaNayakusalaNettINaM samAjahiyaciMtagANaM viduvajjaNANaM ca sammaI papphuDameva vttttde| sataMttuvaladdhikAlado hi bhAratadesassa pasAsaNaNII videsaNII va ahiMsAbhAvaNayA samavedA nnaayde| tattha vissasaMtie NegAI NIIsuttAI sNti| mahappAgaMdhiNo NII aja vi bhAratassa saMvihANe sagIyaM mahattapuNNaM ThANaM lhdi| vissasaMtitthameva bhArateNa paMcasIlasiddhatA vissaparidisse purtthaavidaa| siddhaMtarUveNa tesiM saMmANaM savvehiM raTehiM kidN| paMcasIlasiddhaMtaparipAlaNaNIIdo bhAratassa hANI jAdA tahA vi teNa te abbhuvgdaa| tesiM mahattaM vissasaMtikkhette ajja vi vaTTade jado hi ahiMsA apariggaho ceva paMcasIlANaM pamuhaM tccmtthi| -233

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keNa vi chalabaleNaM vivarIyapurisatyeNaM dhammakammAdisu ca hiMsaNAiduppavRttisIleNaM vissasaMti kadA vi Na hoi| tamhA tadatthaM chalaM Na ghetavyaM sammaM smaacridvymev| panjAvaraNassa saMrakkhaNe jalathalarUkkhAdINaM thAvarappANINaM savvesi vaNNajIvANaM ca saMrakkhA amhehiM avassameva karijjai kaarijiv| tacca saMbhavei ahiMsAbhAvaNayeva, tadatthaM khalu sappayAseNeva ca, Na annnnhaa| vissasaMtitthaM sammaM suhaM nnaadvyN| kimatthi ttsokkhN| uccade, sahAvasiddhaM NirAbAhaM avvucchiNNaM adidiyaM sarasadaM ca sokkhaM samaM hodi| sammaM sokkhaM tesiM surAsuriMdaNariMdAINaM Neva hoi kadA vi je dehavedaNaTThA saMto rammesu visayesu rmNti| parAdhINaM bAdhAsahiyaM vucchiNNaM baMdhakArayaM iMdiyAdhINaM ca sukkhaM dukkhameva hodi tti paNNattaM pvynnpaahudde| tamhA taM tado sammaM pariNNAya samadhigaMtavvaM samahicaridavvaM ca svvehi| savvesiM samo pariNAmo saraNaM siyA tti bhAvaNayA haM vissasaMtitthaM bhagavayagommaTesabAhubalicaraNacchAyAe paMcagAhA viracIya kahami - paDhamaM pahuvamANaM paNamiya haM surAsuriMdasaMpujaM / paNamAmi ya gommaTesaM cAmuMDarAyassa bhagavayaM NiccaM // 1 // NAdUNaM siribhaddabAhuM sudakevaliNaM ca saMlehaNAradaM atth| sudabhattibalaheU vaMdAmi taM puNa savvadA sirasA // 2 // AiriyaM NemicaMdaM siddhaMtacakkavaTTiNaM sagaM suuribuNdehi| vaMdAmi ya puNa savye samagaM pattemeva pattegaM // 3 // kiccA Namotyu maNasA bhaDArayaM cArUkittiM ca bhattijutteNaM / pujapAyaM puNa edaM suatthisirisamalaMkidaM NiccaM // 4 // aMtararaTThiyAe pAiyasaMguTTiyAe ya samAgadANaM / savvesiM vAMchAmi ya suhaM maMgalaM saMpai savvaM // 5 // mi saMdarbha - pRSTha-21, Introduction of Pravacansara, Prof. Dr.A. N. Upadhye pravacanasAra, sampAdaka -pro.DaoN.e.ena.upAdhye) pRSTha-1/41 tadeva - 2/1 tadeva - 2/3 tadeva - 2/23-108 tadeva - 2/25-34 tadeva - 3/1-50 tadeva - 3/41 -0-0-0 -234

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28. SaTkhaNDAgama kA mUlyAMkana - DaoN. jayakumAra upAdhye, naI dillI Agama sAhitya evaM zrutadhara paramparA lokanAyaka tIrthaMkara mahAvIra ke lokamaMgala upadeza ko divyadhvani kahate haiN| yaha divvadhvani samavasaraNa nAmaka dharmasabhA meM prakaTa hotI hai| isa sabhA meM deva, manuSya aura pazu samAna rUpa se upasthita hokara dharmopadeza sunate haiN| yaha vANI Aja se 2600 varSa pUrva prakaTa huI thii| mahAvIra ke prathama ziSya gautama gotrIya indrabhUti gaNadhara hue| inhoMne apane nirmala jJAna se sampUrNa upadeza kA saMkalana kara liyaa| tIrthaMkara vANI kA saMkalana hI Agama sAhitya hai| / yaha upadeza 12 aMgoM meM nibaddha hai| yaha tIrthaMkara vANI bhagavAna mahAvIra ke parinirvANa ke uparAnta 683 varSa taka guru-ziSya paramparAmUlaka maukhika rUpa se surakSita rhii| isa paramparA ko zruta paramparA kahA hai| yaha zrutadhara AcArya kramazaH 62 varSa meM gautama, sudharma aura jambUsvAmi tIna kevalI hue haiN| 100 varSa meM viSNu, nandimitra, aparAjita, govardhana evaM bhadrabAhu 5 zrutavalI hue haiM / 181 varSa meM gyAraha AcArya dazapUrvadhArI hue haiN| ve vizAkhAcArya, prauSTila, kSatriya, jayasena, nAgasena, siddhArtha, dhRtisena, vijaya, buddhiliMga, deva, dharmasena nAma se prasiddha haiN| agale 123 varSa meM nakSatra, jayapAla, pANDava, dhruvasena evaM kaMsa 5 ekAdazAMgadhArI hue haiN| agale 99 varSa meM subhadra, yazobhadra, bhadrabAhu evaM lohAcArya aise cAra AcArya krama se dasa, nava, ATha aMgadhArI hue haiN| aMta meM 118 varSa meM eka aMgadhArI zruzru arhadvali, mAghanandi, dharasena, puSpadanta evaM bhUtabalI AcArya hue haiN| yahI dharasena AcArya SaTkhaNDAgama ke kartA haiM / zrutapada ke paryAyavAcI Agama, siddhAnta, pravacana, jinavANI, sarasvatI Adi haiN| yaha vANI pUrvAparavirUddha Adi doSoM se rahita samasta padArthoM ko prakAzita karane vAlA Aptavacana hai| yaha Agama sAhitya dravyazruta evaM bhAvazruta nAma se prasiddha hai / dravyazruta akSarAtmaka hai aura bhAvazruta artha evaM bhAva pradhAna hai| dravyazruta aMga evaM pUrva nAma se prasiddha hai| bArahaveM dRSTivAdAMga ke pA~ca bheda haiM- 1) parikarma, 2) sUtra, 3) prathamAnuyoga, 4) pUrvagata tathA 5) cUlikA hai| cauthe bhAga pUrvagata ke 14 nAma prasiddha haiM, unameM dUsarA pUrva AgrAyaNIya hai| isa pUrva ke jJAtA AcArya dharasena the| unhoMne AgrAyaNIya pUrva kA vistRta vivecana karate hue usake 14 vastu batAyeM haiN| unameM pA~cavA~ vastu nAmaka cayanalabdhi hai| usa cayanalabdhi meM 20 prAbhRtaka kI racanA kI hai| usake cauthe prAbhRtaka kA nAma karmaprakRti prAbhRtaka hai| usa karmaprakRti ke 24 anuyoga haiN| una anuyogadvAra ke mAdhyama se SaTkhaNDAgama kI racanA kI gaI hai| khaNDa siddhAnta ke jJAtA AcArya dharasena naMdisaMgha kI prAkRta paTTAvalI ke anusAra AcArya dharasena ko AcArAMga ke pUrNa jJAtA mAnate haiM, parantu dhavalA TIkA graMtha ke madhya unheM aMgagraMtha va pUrvagraMtha ke ekadeza jJAtA mAnA hai| ve zrutavatsala zramaNa the| viSama kAla ke prabhAva se zruta - jJAna kA lopa hone kI cintA ne unheM prerita kiyA ki zruta saMrakSaNa kiyA jaaye| usa samaya ve saurASTra ke girinagara 235

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ke candra guphA meM nivAsa karate the, jo vartamAna meM gujarAta prAnta ke jUnAgar3ha jile meM giranAra parvata kA pradeza hai| usa guphA meM AtmadhyAna karate hue Agama sAhitya kI racanA karAne kA saMkalpa lekara dharasena ne Andhrapradeza ke mahimA nagarI meM AcArya saMgha virAjamAna thA, vahA~ patra bheja kara do suyogya ziSyoM ko bulavA liyaa| ve donoM muni puSpadanta aura bhUtabali the| ve donoM atyanta vinayazIla, samasta kalAoM meM pAraMgata, deza, kula evaM jAti se zuddha zIlavAna the| AcArya dharasena ne unakI parIkSA lii| unakI yogyatA kA nirNaya karake sampUrNa jJAna kA unheM zrutAbhyAsa kraayaa| isa prakAra ve pAraMgata ho gye| ve donoM muni puSpadanta, bhUtabalI tathA AcArya dharasena SaTkhaNDAgama ke racayitA haiN| SaTkhaNDAgama graMtha kA pratipAdya viSaya SaTkhaNDAgama jainadarzana aura siddhanta kA sarvAdhika prAmANika evaM mahattvapUrNa graMtha hai| maulika evaM vizAla sAhitya ke racayitA AcAryoM kI zabda - sAdhanA, jJAna kI vizadatA, smRti sAmarthya ko dekhakara hamArI alpabuddhi hataprabha ho jAtI hai / vigata do hajAra varSoM meM isa sAhitya - sAdhanA meM tatpara AcArya zramaNasaMgha samudAya kI pIr3hiyA~ apane Apako kRtArtha mAnatI haiM / SaTkhaNDAgama kA pramukha viSaya karmasiddhAnta hai| inameM chaha khaNDa haiN| yathA - prathama khaNDa : jIvaTThANa jIvasthAna-satprarUpaNA ke prArambha sUtra meM paMca namaskAra maMtra dvArA maMgalAcaraNa kiyA gayA hai| dUsare sUtra meM jIva ko pahacAnane ke 14 guNasthAna evaM 14 mArgaNA sthAnoM ke viSaya meM vivecana kiyA gayA hai| isameM ATha anuyogadvArA evaM nau cUlikAoM ke mAdhyama se kula 2375 sUtroM kI racanA huI hai| dUsarA khaNDa: khuddAbandha isa khaNDa meM kula 1592 sUtra haiM tathA yaha 11 adhikAroM meM nibaddha haiN| ina adhikAroM ko prarUpaNA nAma se varNana karate hue bandhaka jIva karmabandha kitane bhedoM ke dvArA karatA hai, isakA zAstrIya vivecana prApta hotA hai| tIsarA khaNDa : bandhasAmittavicao isa khaNDa meM kula sUtra 324 haiN| karmabandha karane vAlA bandhaka jIva kA svAmitva 14 guNasthAna, 14 mArgaNAsthAna ke mAdhyama se varNana kiyA gayA hai| kitanI karmaprakRtiyA~ kina guNasthAnoM meM jIva ko bAMdhatI haiM, isakA vivecana kiyA gayA hai| karma vyucchitti sodaya bandharUpa prakRti, parodayabandha prakRti Adi kA varNana kiyA gayA hai| cauthA khaNDa : vedanA isa khaNDa meM zaurasenI prAkRta bhASA meM kula 1523 sUtra race gaye haiN| mukhya rUpa se kRti anuyogadvAra evaM vedanA anuyogadvAra ke mAdhyama se mahAkarmaprakRti prAbhRta ke pramukha do viSayoM para vivecana kiyA gayA hai| isake Arambha meM ' Namo jiNANaM Namo vayamANa buddhirisissa nAmaka 44 sUtroM meM gaNadharavalaya maMtra kA nirUpaNa bhI yahA~ kiyA gayA hai| 36 1 - 236 -

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pA~cavA~ khaNDa : vargaNA isa khaNDa meM kula 6835 sUtra haiN| sparza, karma evaM prakRti ina tIna anuyogadvAra ke sAtha, bandhana anuyoga ke aMtargata bandha-bandhaka, bandhanIya evaM bandhavidhAna kA cAra adhikAroM meM varNana kiyA gayA hai| isa racanA kA uddezya mAtra yaha batAtA hai ki jIva ko saMsAra bandhana se chuTakArA dekara duHkha samUha se nivRtti prApta kara kevalajJAna prApta karane ke mahAtmya ko darzita kiyA gayA hai| sampUrNa karmoM ke bandhana se mukti pAkara mokSasukha pAne kA vidhAna vivecita kiyA gayA hai| TIkA graMtha ina pA~coM khaNDoM kI racanA AcArya dharasena ke ziSya AcArya puSpadanta evaM bhUtabali ne IsA kI prathama sadI meM kula 6835 sUtroM meM nibaddha kiyA hai| isa graMtha para 8vIM sadI meM AcArya dvArA 78,000 zloka pramANa dhavalA nAmaka maNipravAla zailI meM TIkA sAhitya kI racanA kI gaI hai| chaThavA~ khaNDa : mahAbandha yaha karmaprakRti prAbhRta kA chaThA khaNDa hai| isakI racanA AcArya bhUtabali dvArA kI gaI hai| isameM kula 40,000 gAthAyeM prApta haiN| prakRtibandha, pradezabandha, sthitibandha aura anubhAgabandha ina cAra prakAra ke bandhatattva kA vivecana kiyA gayA hai| isameM 24 anuyogadvAroM kA vistRta paricaya diyA gayA hai| isa khaNDa para mahAdhavala nAmaka TIkA sAhitya 8vIM sadI meM likhA gayA hai| paravartI AcAryoM dvArA likhA gayA TIkA sAhitya 1. AcArya kundakunda (padmanandi) dvArA parikarma nAmaka TIkA kI Adi ke tIna khaNDoM para prAkRta bhASA meM 12 hajAra zloka pramANa racanA kI gaI hai| ye AcArya prathama TIkAkAra hai| 2. AcArya zAmakuNDAcArya dvArA Adi ke pA~ca khaNDoM para tathA kaSAyapAhuDa graMtha para 12 hajAra zloka pramANa prAkRta, saMskRta evaM kannaDa bhASA meM racanA huI hai| ye AcArya dvitIya TIkAkAra haiN| 3. tRtIya TIkAkAra ke rUpa meM tumbulUra AcArya prasiddha haiN| inhoMne Adi ke pA~ca khaNDoM para tathA kaSAyapAhuDa (prAbhRta) para 84 hajAra zloka pramANa cUDAmaNi nAmaka mahAna kannaDa bhASA meM TIkA kI racanA kI hai| isake alAvA chaThaveM khaNDa para paMcikA nAmaka pada vivaraNa mUla 7 hajAra zloka pramANa racanA kI hai| kula TIkA 91 hajAra zloka pramANa vizAla sAhitya kI racanA kI hai| 4. caturtha TIkAkAra ke rUpa meM AcArya samaMtabhadra haiN| unhoMne khaNDoM para adhyayana prastuta karake 48 hajAra zloka pramANa TIkA kI racanA kI hai| 5. pA~caveM TIkAkAra ke rUpa meM bappadeva kA nAma prakhyAta hai| inhoMne chahoM khaNDa tathA kaSAyaprAbhRta sAhitya para kula -237

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68 hajAra 5 gAthAoM meM prAkRta bhASA meM TIkA likhI hai| 6. ukta 1 se 5 TIkAe~ vartamAna meM upalabdha nahIM ho sakI haiN| 7. AcArya vIrasena evaM AcArya jinasena ne dhavala, jayadhavala evaM mahAdhavala nAmaka maNipravAla zailI para AdhArita saMskRta evaM prAkRta bhASA meM gadya evaM padyamaya kAvya kI racanA kara digadigaMta meM apAra yaza ko prApta kiyA hai| paravartI kAla meM prastuta graMtha para anuvAda kArya SaTkhaNDAgama ke prathama pA~ca khaNDoM kA dhavalA TIkA ke sAtha sampAdana-anuvAda pro.hIrAlAla jI jaina ne kucha prakANDa vidvAnoM ke sahayoga se san 1934 se 1954 taka 20 sAla ke dIrgha parizrama ke sAtha 16 khaNDoM kA prakAzana karAyA hai| prathama saMskaraNa 16 khaNDoM kA jIvarAja graMthamAlA solApura se prakAzita hai| inakA saMpUrNa 39 bhAgoM kA marAThI anuvAda kArya solApura meM vartamAna meM ho rahA hai| chaThaveM khaNDa mahAbandha kA sampAdana evaM anuvAda kArya paM.phUlacandra jI siddhAntazAstrI ne kiyA hai, jo sAta khaNDoM meM bhAratIya jJAnapITha, naIdillI se prAkazita ho cukA hai| AcArya guNadhara dvArA kR ta kaSAyapAhuDa kA jayadhavalA TIkA ke sAtha sampAdana evaM anuvAda paM.phUlacandra jI siddhAntazAstrI evaM paM. kai lAzacandra jI siddhAntazAstrI ke dvArA 15 khaNDoM meM bhAratavarSIya digambara jaina saMgha, mathurA se prakAzita hai| isa anuvAda kArya ke lie sarvaprathama digambara jainamaTha, mUDabidri ke bhaTTAraka zrI cArUkIrti kI ananta kRpA rahI hai ki unhoMne ina graMthoM ko apane maTha meM tADapatrIya graMthoM ko saikar3oM varSoM se saMrakSita rakhA thA aura kRpApUrvaka anuvAda kArya hetu graMtha pradAna kiyA thaa| paramapUjya cAritracakravartI AcAryazrI 108 zAMtisAgara jI munimahArAja kI asIma kRpA se phalaTaNa mahArASTra meM samagra graMthoM kA tAmrapatra para lekhana kArya karavA kara zrI candraprabha jinAlaya, phalaTaNa, mahArASTra meM virAjamAna kiyA gayA hai| isakA eka graMtha tAmrapatra kA mumbaI ke kAlavA ke jinAlaya meM virAjamAna hone kA maMtavya prApta hotA hai| vartamAna meM karnATaka prAnta ke zrIkSetra zravaNabelagolA ke dharmapIThAdhipati paramapUjya jagadguru karmayogI svastizrI cArUkIrti bhaTTAraka mahAsvAmi jI ne athaka pazrima se prAkRta dhavalatraya graMthoM kA kannaDa anuvAda evaM prakAzana yojanA prArambha kara diyA hai| kula 39 bhAgoM meM se abataka dhavalA ke 16, jayadhavalA ke 5 aura mahAdhavalA ke 5 bhAga prakAzita haiM aura zeSa kA kArya pragati para haiN| yaha eka kannaDa jaina sAhitya meM apUrva aitihAsika ghaTaNA bana gaI hai| SaTkhaNDAgama graMtha zaurasenI prAkRta bhASA meM racita hai| usakI pramukha vizeSatAe~ haiM - -- 238 -

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1. 'ta' ke sthAna para 'd'| udA :- mati madi, 115/355 iti idi, 1/8 2. 'tha' ke sthAna para 'ha' athavA 'ddh'|| udA :- yathA jahA, 3/133 pRthivI puDhavI, 81/324 3. 'ma' ke sthAna para 'ha' / udA :- prabhRti pahuDi, 44/277 4. 'ra' ke sthAna para ' la ' (mAgadhI ke anusAra) / udA :- audArika odAliya, 57/297 5. uSma 'za, Sa ' vargoM ke sthAna para dantya 's'| udA :- upazama uvasama, 18/189 kaSAya kasAya, 55/291 6. 'puliMga kartA' kAraka ke ekavacana ke sthAna para 'o' / udA :- namaH namo, 1/8 saptavidhaH sattaviho, 49/282 7. 'saptamI vibhaktI' ke ekavacana meM 'e, mhi ' pratyaya / udA :- pRthivyAM puDhavIe, 82/325 sthAne ThANe, 129/380 yaha zrutagraMtha SaTkhaNDAgama paramagambhIra, syAdvAdamayI amoghalAMchana se abhimaMDita, anekAMtamayImUrti, sarvodayatIrthasvarUpI, AtmAnuzAsaka, vizvakalyANakAraka, muktilakSmisAdhaka yuktyanuzAsanakAraka jinazAsana hai| yaha vANI gambhIra, madhura, manohara, doSarahita, hitakara, vacanavyApAra rahita, AMdhI tUphAna Adi upadrava se nirbAda, spaSTa, zrotA ko abhISTa pradAyaka, sarvabhASAmayI hai| isa graMtharAja meM aneka vaizvika mUlya nihita haiN| saMdarbha - 1. pa.pU.cArukIrti bhaTTAraka svAmi jI, pradhAna sampAdaka - dhavalatraya graMtha praveza, pra. - rASTrIya prAkRta adhyayana evaM saMzodhana saMsthAna, zravaNabelagolA, 2004 I. 2. paM. bAlacandra zAstrI, SaTkhaNDAgama parizIlana, pra. - bhAratIya jJAnapITha, naI dillI, 1987 I. 3. subbayya zAstrI, kannaDa sampAdaka evaM anuvAdaka - SaTkhaNDAgama- prathama khaNDa, pra. - jinendra gaMthamAlA, cauDezvarI guDI bIdI,baiMgalora, 1967 I. 4. paM. dharamacanda jaina, SaTkhaNDAgama kI zAstrIya bhUmikA, pra. - prAcya zramaNa bhAratI, mujhaphpharanagara, 2000 I. 5. DaoN. rekhA jaina, mUlAcAra meM pratipAdita digambara jaina sAdhvAcAra, pra.- syAdvAda jJAnapITha, baDagA~va (u.pa.) 6. pro.DaoN. rAjArAma jaina, lekhaka - chakkhaMDAgamalehaNa kahA, pra.- mahAjana TolI, ArA, bihAra, 7. DaoN. prema sumana jaina, zaurasenI prAkRta bhASA aura vyAkaraNa, dillI 8. prAkRta vidyA (zodha patrikA) kundakunda bhAratI, naI dillI -0-0-0 -- 239 -

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29. bhaTTArakoM kA prAkRta sAhitya ko avadAna - DaoN. kalpanA jaina, naIdillI prAcIna samaya ke diga. jaina bhaTTArakoM kI deza ke sAhitya, kalA, samAja ke unnayana meM jo mahatvaparNa yogadAna rahA hai, usakA mUlyAMkana avazya kiyA jAnA caahie| ye bhaTTAraka zikSAzAstrI , sAhityakAra aura vidvAn hI nahIM the, apitu unhoMne apanI sAdhanA aura saMyama dvArA bhI bhAratIya dharma aura naitika AcaraNa ko saMrakSita kiyA hai| yaha paramparA vartamAna yuga meM dakSiNa bhArata meM abhI jIvita hai / vahA~ kI saMskRti aura samAja ke vikAsa meM Aja bhI vidvAn aura karmayogI bhaTTAraka sakriya haiM / prAkRta sAhitya ke unnayana meM bhI zrI diga . jainamaTha zravaNabelagolA ke bhaTTAraka pUjya svAmI karmayogI cArUkIrti jI svayaM bhI jainadarzana aura prAkRta ke niSNAta manISI haiM tathA unhoMne prAkRta bhASA aura sAhitya ke vikAsa ke lie bhI apUrva sevA kI hai| bhaTTAraka padmanandi : jambUdIvapaNNattI, dhammarasAyaNa padmanandi nAma ke 9 se bhI adhika AcArya evaM bhaTTAraka ho gaye haiM jinakA ullekha vibhinna granthoM, zilAlekhoM evaM mUrtilekhoM meM milatA hai| lekina vIranandi ke praziSya evaM bAlanandi ke ziSya AcArya padmanandi una sabase bhinna haiM / ye rAjasthAnI vidvAna the aura bAMrA nagara inakA pramukha sAhityika kendra thaa| paM nAthUrAma premI ne bArA kI bhaTTAraka gAdI ke AdhAra para padmanandi kA samaya vikrama saMvata 1100 ke lagabhaga mAnA hai| padmanandi prAkRta bhASA ke udbhaTa vidvAna the| jaina-darzana tathA tInoM lokoM kI sthiti kA unheM acchA jJAna prApta thaa| apane samaya ke ve prabhAvazAlI AcArya evaM bhaTTAraka the tathA aneka ziSya-praziSyoM ke svAmI the| usa samaya prAkRta ke paThana-pAThana kA acchA pracAra thaa| rAjasthAna evaM mAlavA unakI gatividhiyoM kA pramukha kendra thA | padmanandi kI prAkRta bhASA kI do kRtiyAM upalabdha hotI hai jinameM eka , jambUdIvapaNNattI tathA dUsarI dhammarasAyaNa hai| jambUdIvapaNNattI, eka vizAlakAya kRti hai jisameM 2427 gAthAeM haiM jo 93 adhikAroM meM vibhakta hai| vAstava meM yaha graMtha prAcIna bhUgola khagola kA acchA varNana prastuta karatA hai| AcArya padmanandi kI dUsarI racanA dhammarasAyaNa hai jisameM 193 gAthAyeM hai| bhASA evaM zailI kI dRSTi se yaha grantha atyadhika sarala evaM sarasa hai / isameM dharma ko hI parama rasAyaNa mAnA gayA hai| yahI vaha auSadhi hai jisake sevana se janma-maraNa evaM duHkha kA nAza hotA hai| dharma kI mahimA batalAte hue graMtha meM kahA hai ki dharma hI trilokabandhu hai tathA tIna lokoM meM dharma hI eka mAtra zaraNa hai| dharma ke pAna se yaha manuSya tInoM logoM kA pAra kara sakatA hai| dhammo tiloyabandhU dhammo saraNaM have tihuynnss| dhammeNa pUyaNIo , hoi Naro savvaloyassa / / 1- 240 -

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bhaTTAraka jinacandra : siddhAntasAra bhaTTAraka zubhacandra ke ziSya bhaTTAraka jinacandra 16 vIM zatAbdI ke prasiddha digambara jaina santa the| inhoMne sAre rAjasthAna meM vihAra karake jaina-sAhitya evaM saMskRti ke pracAra-prasAra meM mahatvapUrNa yogadAna diyA thaa| bha. jinacandra kI aba taka jo do kRtiyAM upalabdha huI unameM eka saMskRta evaM eka prAkRta kI racanA hai / jinacaturvizatistotra saMskRta kI racanA hai tathA siddhAntasAra prAkRta racanA hai / siddhAntasAra eka prAkRta bhASA kA grantha hai aura usameM nimna prakAra kA ullekha huA hai'-, pavayaNapamANalakkhaNa chaMdAlaMkAra rahiyahiyaeNa / jiNAiMdeNa pautttaM iNamAgamabhattijutteNa // 7 // bhaTTAraka jJAnabhUSaNa : siddhAntasArabhASya : bhaTTAraka jJAnabhUSaNa apane samaya ke sarvAdhika lokapriya bhaTTAraka the| uttarI bhArata meM aura vizeSataH rAjasthAna evaM gujarAta meM unakA jabaradasta prabhAva thA / jJAnabhUSaNa evaM jJAnakIrti ye donoM hI sage bhAI evaM guru bhAI the aura ve pUrvI golAlAre jAti ke zrAvaka the|2 jJAnabhUSaNa pratibhApUrNa sAdhaka the| unhoMne AtmasAdhanA ke atirikta jJAnArAdhanA, sAhitya sAdhanA, sAMskRtika utthAna evaM naitika dharma ke pracAra meM apanA sampUrNa jIvana khapA diyaa| sarvaprathama unhoMne stavana evaM pUjASTaka likhe phira prAkRta granthoM kI TIkAe~ likhiiN| zrI nAthUrAmajI premI ne inake tatvajJAnataraMgiNI, siddhAntasArabhASya, paramArthopadeza , neminirvANa kI paMjikATIkA, paMcAstikAya, dazalakSaNodyApana , AdIzvara phAga, bhaktAmarodyapAna, sarasvatI pUjA granthoM kA ullekha kiyA hai| siddhAntasArabhASya : - siddhAntasAra meM 79 gAthAe~ haiN| siddhAntasAra meM varNita viSayoM kA aMkana prathama gAthA meM hI kara diyA gayA hai| batAyA hai - jiivgunnsthaansNjnyaapryaaptipraannmaargnnaanvonaan| siddhAntasAramidAnI bhaNAmi siddhAn namaskRtya // arthAt jIvasamAsa, guNasthAna, saMjJA, paryApti, prANa aura mArgaNAoMkA isameM varNana kiyA gyaa| 14 guNasthAnoM meM caturdaza mArgaNAoM kA sundara vivecana AyA hai| isa prakAra mArgaNAoM meM jIvasamAsoM kI saMkhyA bhI dikhalAyI gayI haiM / 78 vIM gAthA meM lekhakakA nAma aMkita hai - pvynnpmaannlkkhnnNchNdaalNkaarrhiyhiyenn| jiNaiMdeNa pauttaM iNamAgamabhattijutteNa // -241

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bhaTTAraka zubhacandra zubhacandra bhaTTAraka vijayakIrti ke ziSya the / ve apane samaya ke prasiddha bhaTTAraka , sAhitya premI , dharmapracAraka evaM zAstroM ke prabala vidvAna the| zrI vI. pI. joharApurakara ke matAnusAra ye saMvat 1573 meM bhaTTAraka bne| aura ve isI pada para saMvat 1613 taka rahe / zubhacandra zAstroM ke pUrNa marmajJa the| ye SaTbhASA kavi-cakravartI kahalAte the| chaha bhASAoM meM sambhavataH saMskRta prAkRta apabhraMza, hindI, gujarAtI evaM rAjasthAnI bhASAe~ thiiN| ye trividhi vidyAdhara (zabdAgama, yuktAgama evaM paramparAgama) ke jJAtA the| ve svayaM granthoM kA nirmANa karate, zAstrabhaNDAroM kI samhAla karate, apane ziSyoM se pratilipiyA~ karavAte tathA jagaha-jagaha zAstrAgAra kholane kI vyavasthA karAte the| vAstava meM aise hI santoM ke satprayAsa se bhAratIya sAhitya surakSita raha sakA hai| 1. kArtikeyAnuprekSA TIkA : prAkRta bhASA meM nibaddha svAmI kArtikeya kI bArasaaNupekkhA eka prasiddha kRti hai| isameM AdhyAtmika rasa kUTa-kUTa kara bharA huA hai / tathA saMsAra kI vAstavikatA kA acchA citraNa milatA hai / isI kRti kI saMskRta TIkA bhaTTAraka zubhacandra ne likhI jisase isake adhGgana , manana evaM cintana kA samAja meM aura bhI adhika pracAra huaa| isa grantha ko lokapriya banAne meM isa TIkA ko bhI kAphI zreya rhaa| TIkA sarala evaM sundara hai tathA gAthAoM ke bhAvoM ko aisI vyAkhyA anyatra milanA kaThina hai / grantha meM 12 adhikAra haiN| pratyeka adhikAra meM eka-eka bhAvanA kA varNana hai| 2. aMgapaNNattI - yaha prAkRta bhASA kA grantha hai| isameM 248 gAthAe~ dI huI hai, jinameM aMga pUrvAdi kA svarUpa aura padAdi kI saMkhyA dI huI hai / grantha mANikacandra granthamAlA ke siddhAntasArAdisaMgraha meM prakAzita ho cukA hai| grantha meM racanAkAla diyA huA nahIM hai|' 3. cintAmaNi vyAkaraNa : bhaTTAraka zubhacandrasUri ne vi . saM . 1605 meM isa grantha kI racanA kI thI / isameM kula 1224 sUtra haiN| hemacandra ke prAkRta vyAkaraNa kA isameM anusaraNa kiyA gayA hai / isa grantha para lekhaka kI sopajJavRtti bhI hai| bhaTTAraka vIracandra vIracandra bhaTTAraka lakSmIcandra ke ziSya the aura inhIM kI mRtyu ke pazcAt ye bhaTTAraka bane the| yadyapi inakA sUrata gAdI se sambandha thA , lekina ye rAjasthAna ke adhika samIpa the aura isa pradeza meM khUba vihAra kiyA karate the / santa vIracandra pratibhA sampanna vidvAn the / vyAkaraNa evaM nyAyazAstra ke prakANDa vettA the| chanda , alaMkAra evaM saMgIta ke marmajJa the| -242

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bhaTTAraka vAdicandra ne apanI zubhagasulocanAcarita meM vIracandra ko vidvattA kI prazaMsA kI hai aura kahA hai ki kauna-sA mUrkha unake ziSyatva ko svIkAra kara vidvAn nahIM bana sktaa| vIracandraM samAzritya ke mUrkhA na viMdo mthn| taM ( zraye ) tyakta sArvanna dIptyA nirjitakAncanam // vIracandra samartha sAhitya sevI the| ve saMskRta, prAkRta, hindI evaM gujarAtI ke pAraMgata vidvAna the| bramhajinadAsa : dharmapaMcaviMsati bramha jinadAsa dvarA likhita prAkRta kaha eka racanA dharmapaMcaviMzati jayapura ke godhA diga. jaina maMdira ke grantha bhaNDAra meM upalabdha hai / yaha lagabhaga 15vIM sadI kI racanA hai / pANDulipi vi. saM.1827 meM likhI gayI thii| Adi bhAga bhavya kamala mAyaMDaM siddhaM jiNati huyANiMda sada pujaM / Nemi sasi guruvIra paNAmiyatiya sudhibhava mahaNaM // 1 // sasAmajjhi jIvo hiMDiyamicchata visayasaMsatto / alahaMtA jiNadhammaM bahuvihayanjAya gieheI // 2 // anta bhAga jiNadhammaM mokkhachaM aNaMNa havehi hiMsagAyaraNaM / iya jANi bhavya jIvA jiNaakkhiya Nammu Ayarahi / / 20 / / Nimmala daMsaNabhattI vayaaNupehA ya bhAvaNA criyaa| aMte salehaNa karijaI icchahi muttivararamaNi // 21 // mehA kumaiNi caMdaM bhavadu sAyarahaM jANapattamiNaM / dhammaM vilAsa sudahaM bhaNidaM jiNadAsa vamheNa // 22 // iti trividhasaiddhAntika cakravrAcArya zrI nemicandrasya ziSya bra zrI jinadAsa viracitaM dharmapaMcavizaMtikA nAma zAstraM samAptam / zrI candena pratilipi kRtaM / bha. sumatikIrti : karmakANDaTIkA sumatikIrti nandisaMgha balAtkaragaNa evaM sarasvatIgaccha ke bhaTTAraka vIracandra ke ziSya the| inake pUrva isa paramparA meM lakSmIbhUSaNa , mallibhUSaNa evaM vidyAnandi ho cuke haiN| sumatikIrti ne prAkRtapaMcasaMgraha kI TIkA ko visaM 1620 bhAdrapada zuklA dazamI ke dina IDara ke RSabhadeva jinAlaya meM likhA hai| isa TIkA saMzodhana jJAnabhUSaNa bhaTTAraka ne kiyA hai / sumatikIrti siddhAntavedi evaM nigranthAcArya the / inakA samaya 16 vIM zatAbdI kA antima -243

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bhAga aura 17 vIM zatAbdI kA madhyabhAga hai / bhaTTAraka sumatikIrti ne karmakANDa aura prAkRtapancasaMgraha ya jaise siddhAnta granthoM kI TIkA likhI hai| ina TIkAoM se inake siddhAntaviSayaka pANDitya kA parijJAna hotA hai| ye AcAra , darzana , karmasiddhAnta , adhyAtma evaM kAvya ke niSNAta vidvAn the| 1. karmakANDaTIkA AcArya nemicandra ne prAkRta meM karmakANDa kI racanA kI hai| isa grantha kI saMskRta TIkA bhaTTAraka jJAnabhUSaNa kI sahAyatA se sumatikIrti ne kI hai| 2. prAkRtapaMcasaMgraha TIkA - - AcArya amitagati dvArA vi saM 1073 meM prAkRta-paMcasaMgraha saMzodhana kara saMskRta- paMcasaMgraha grantha kA gaThana kiyA gayA hai / yaha grantha prAcIna hai , isameM pAMca prakaraNa haiM aura isa para bhASya evaM saMskRta TIkAe~ likhI gayI hai| isa paMcasaMgraha ke saMskRta-TIkAkAra bhaTTAraka sumatikIrti haiM / TIkAke Arambha meM gadyabhAga hai aura anta meM padyoM meM prazasti dI gayI hai| bhaTTAraka zrutasAgarasUri : SaTprAbhRtaTIkA Adi bhaTTAraka zrutasAgarasUri balAtkAragaNa kI sUrata-zAkhA ke bhaTTAraka haiM / vidyAnandi ke pazcAt mallibhUSaNa bhaTTAraka hue , jo zrutasAgara ke gurubhAI the / malliSeNake anurodha se zrutasAgara ne yazodharacarita, mukuTasaptamIkathA aura pallividhAnakathA Adi kI racanA kI hai / zrutasAgara kA vyaktitva eka jJAnArAdhaka tapasvI vyaktitva hai, jinakA eka-eka kSaNa zrutadevatA kI upAsanA meM vyatIta huA hai| zrutasAgara nissandeha atyanta pratibhAzAlI vidvAna the| ye kalikAlasarvajJa kahe jAte the| bhaTTAraka zrutasAgarasUrikA samaya vi kI 16 vIM zatAbdI hai| zrutasAgarasUrikI abataka 38 racanAe~ prApta haiN| inameM ATha TIkAgrantha haiM, aura caubIsa kathAgrantha haiM , zeSa chaha vyAkaraNa aura kAvya grantha haiN| 1. SaTprAbhRtaTIkA - AcArya zrutasAgarasUri ne SaTprAbhRta kI TIkA prArambha karate hue likhA haizrImallibhUSaNa bhaTTAraka kI AjJA se prareNA se aura aneka jIvoM kI prArthanA se zrI kundakundAcArya dvArA viracita yaSaTprAbhRtaGka grantha kI TIkA karane ke liye pravRtta hue haiM / isa TIkA meM bhI yatathAcoktaMGkha kahakara aneka sthAnoM ke uddharaNa saMkalita kiye haiM / kundakundasvAmI ke mUlavacanoM kA vyAkhyAna sarala aura saMkSepa rUpa meM kiyA hai / TIkA kI zailI bahuta hI sarala , svaccha aura spaSTa hai / darzana, caritra, sUtra, bodha, bhAva aura mokSa ina chaha prAbhRtoM kA vyAkhyAna zrutasAgarasUri ne kiyaa| -244

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2. audAryacintAmaNi audAryacintAmaNi- - prAkRta bhASA kA zabdAnuzAsana hai| yaha grantha do adhyAyoM meM pUrNa huA hai| prathama adhyAya meM 245 sUtra aura dvitIya adhyAya meM 213 sUtra haiN| isa prAkRtavyAkaraNa meM svara aura vyanjana parivartana ke sAtha zabdarUpa evaM abjoM kA kathana AyA hai / dhAturUpa tathA kRdantapratnoM kA anuzAsana isameM varNita nahIM hai| isa vyAkaraNoM ke do hI adhyAya upalabdha haiM, zeSa adhyAya abhI taka prApta nahIM hue haiN| ye do adhyAya jaina siddhAnta bhavana ArA, evaM byAvara ke granthAgara meM upalabdha haiN| zrutasAgarasUri ne grantharacanA dvArA to jainadharma kA prakAza kiyA hI, para zAstrArtha dvArA bhI unhoMne jainadharma kA paryApta prakAza kiyA hai| zrutasAgara apane samaya ke bahuta hI prasiddha mAnya aura prabhAvaka vidvAna rahe haiM / inhoMne apane samaya ke rAjAoM, sAmantoM aura prabhAvaka vyaktiyoM ko bhI prabhAvita kiyA thA / zrutasAgara kA vyaktitva bahumukhI hai / bha. nemicandra : jIvatatvapradIpikATIkA jaina sAhitya meM kaI nemicandroM kA ullekha prApta hotA hai| saMskRta jIvapradIpikATIkA ke racayitA mUlasaMgha balAtkAragaNa zAradAgaccha kundakundAnvaya aura nandi AmnAya ke nemicandra haiM / ye jJAnabhUSaNa bhaTTAraka ke ziSya the / prabhAcandra bhaTTAraka ne inheM AcAryapada pradAna kiyA thA / kezavavarNI ne gommaTasAra kI karnATakavRtti likhI hai / isa vRttikA nAma bhI jIvatatvapradIpikA hai| kezavavarNI ko hI kucha loga saMskRta jIvatatvapradIpikA kA racayitA mAnate haiN| para DaoN e. ena. upAdhye ne kezavavarNI kI kannar3a TIkA batalAyI hai aura isa TIkA ke AdhAra para nemicandra ne saMskRta meM jIvatatvapradIpikA TIkA likhI haiN| nemicandra ke sAluva mallirAya ke samakAlIna hone se hama saMskRtajIvatatvapradIpikA kI racanA kI IsA kI 16 vIM zatAbdI ke prArambha kI ThaharA sakate haiN|' 10 11 isa TIkA meM saMskRta, prAkRta Adi bhASAoM ke zatAdhika uddharaNa prastuta kiye gaye haiN| inhoMne samantabhadrAcArya ke AptamImAMsA, vidyAnanda ke AptaparIkSA, somadeva ke yazastilaka, nemicandra ke trilokasAra aura AzAdhara ke anagAradharmAmRta prabhRti granthoM se apane viSaya kI puSTi ke lie uddharaNa diye haiN| TIkA meM yativRSabha, bhUtavalI, samantabhadra, bhaTTAkalaMka, nemicandra, mAdhavacandra, abhayacandra aura kezavavarNI Adi granthakAroM ke nAmoM kA bhI nirdeza kiyA hai / kavi rAjamalla - kavi rAjamalla 17 vIM zatAbdI ke pratibhA sampanna vidvAn aura kavi the / vyAkaraNa, siddhAnta, chandazAstra aura syAdvAdavidyA meM pAraMgata the / syAdvAda aura adhyAtmazAstra ke talasparzI vidvAna the / kavi rAjamalla kI nimnakRtiyA~ upalabdha haiM- jambUsvAmIcaritra, adhyAtmakamalamArtaNDa, samayasArakalazaTIkA, lATIsaMhitA, chandovidyA aura paMcAdhyAyI / " 12 -245

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1. chandovidyA : isa grantha kI 28 patrAtmaka eka mAtra prati dillI ke paMcAyatI mandira ke zAstrabhaNDAra meM maujUda hai , jo bahuta hI jIrNa-zIrNa dazA meM haiN| aura jisakI zloka saMkhyA 550 ke lagabhaga hai| isameM gurU aura laghu akSaroM kA svarUpa batalAte hue likhA hai jo dIrgha hai, jisake para bhAga meM saMyukta varNa hai , jo bindu (anusvAra-visarga se yukta haipAdAnta hai vaha gurU hai, dvimAtrika hai aura usakA svarUpa vakra (?) hai| jo eka mAtrika hai vaha laghu hotA hai aura usaka rUpa zabda-vakratA se rahita sarala (1) hai ! dIho saMjuttavaro viMdujuo yAlio(?) vicrnnNte| sa guru vakaM dutatto aNNo lahu hoi zuddha ekaalo // 8 // isake Age chandazAstra ke niyama-upaniyamoM tathA unake apavAdo Adi kA varNana kiyA hai| isa piMgala grantha meM prAkRta saMskRta apabhraMza aura hindI ina cAra bhASAoM ke padyoM kA prayoga kiyA gayA hai| jinameM prAkRta aura apabhraMza bhASA kI pradhAnatA hai unameM chanadoM ke niyama , lakSaNa aura udAharaNa diye haiM / saMskRta bhASA meM bhI niyama aura udAharaNa pAye jAte haiM / aura hindI meM bhI kucha milate haiN| isase kavi kI racanA cAturya aura kAvya pravRtti kA paricaya milatA hai| 2. paMcAdhyAyI : kavi ne isa grantha ko pA~ca adhyAyoM meM likhane kI pratijJA kI thii| ve usakA Der3ha adhyAya hI banA sake , kheda hai ki bIca meM hI Ayu kA kSaya hone se ve use pUrA nahIM kara ske| yaha samAja kA durbhAgya hI hai| kavi ne AcArya kundakunda aura amRtacandrAcArya ke granthoM kA dohana karake isa grantha kI racanA kI hai / grantha meM dravya sAmAnya kA svarUpa anekAnta dRSTi se pratipAdita kiyA gayA hai| aura dravya ke guNa paryAya tathA utpAda vGga dhrauvya kA acchA vicAra kiyA hai / dravya, kSetra , kAla, bhAva kI apekSA usake svarUpa kA nirbAdha cintana kiyA hai / nayoM ke bheda aura unakA svarUpa , nizcaya naya aura vyavahAra naya kA spaSTa kathana kiyA hai| vizeSa kara samyagdarzana ke vivecana meM jo vizeSatA dRSTigocara hotI hai vaha kavi ke anubhava kI dyotaka hai| anya prAkRta racanAeM : rAjasthAna ke jaina grantha bhaNDAroM meM bhaTTArakoM dvArA praNIta jo prAkRta grantha upalabdha haiM unameM nimnAMkita pramukha haiM 1. zrAvakAcAra : ___ bhaTTAraka padmanaMdi ne prAkRta meM zrAvakAcAra likhA hai / isa grantha kI 5 pANDulipiyA~ bhaTTArakIya grantha bhaNDAra nAgaura meM upalabdha haiM / prAcIna prati saM. 1600 kI upalabdha hai| Ata: yaha grantha isake pUrva likhA gayA hogA / saM. 1672 meM likhI prati meM jo prazasti hai usameM bhaTTArakoM kA acchA varNana kiyA gayA hai| - 246 -

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2. bhAvasaMgraha - bhaTTAraka zrutamuni ne bhAva saMgraha nAmaka grantha prAkRta meM likhA hai , jo devasena ke bhAvasaMgraha ke anukaraNa para likhA gayA hai / bhaTTArakIya grantha bhaNDAra nAgaura meM isa bhAvasaMgraha kI tIna pANDulipiyA~ saMgrahIta haiN| 3. SaTatrizaMtigAthAsArthaH - munirAja DhADhasI ne 36 gAthAoM meM eka racanA likhakara usakI saMskRta meM vyAkhyA bhI likha hai| sAta pannoM kI eka prati nAgaura meM upalabdha hai , jo saM . 1685 kI likhI huI hai| 4. SadravyasaMgraha TippaNa - bhaTTAraka prabhAcandra deva ne prAkRta ke dravyasaMgraha para saMskRta meM TippaNa likhA hai / isakI 19 pannoM kI pANDulipi nAgaura grantha bhaNDAra meM prApta hai| 5. zrutaskandha - bramha hemacandra ne prAkRta meM zrutaskandha nAmaka kRti likhI hai , jisameM jaina siddhAnta kA vivecana hai / isakI cAra pratiyA~ nAgaura grantha bhaNDAra meM upalabdha haiN| ATha panne kI prati vi. saM. 1531 kI hai , ataH bramha hemacandra ne isake pUrva kabhI isa racanA kA nirmANa kiyA hogaa| 6. jIvaprarUpaNa kavi guNarayaNa bhUSaNa ne prAkRta meM jIvaprarUpaNa nAmaka grantha likhA hai| isakI eka pANDulipi nAgaura granthabhaNDAra meM prApta hai, jo 28 panno kI hai / yaha pANDulipi vi. saM. 1511 meM likhI gayI hai, ataH kavi kA samaya isase pUrva hogaa| 7. samayasAravRtti - zrI bhaTTAraka devendra kIrti ke ziSya bhaTTAraka jinacandrasUri ne saM. 1788 meM IsaradAna nagara ke candraprabha maMdira meM samayasAravRtti nAmaka grantha likhA hai / samayasAra para amRtacandra kI TIkA para yaha syAdvAdacUlikA vRtti likhI gayI hai / kula 121 pannoM meM likhita samayasAravRtti kI pANDulipi jayapura ke mArUjI ke jaina maMdira ke bhaNDAra meM upalabdha hai| 8. vaidyakazAstra - pANDeya lUnakarana jaina maMdira jayapura ke grantha bhaNDAra meM 21 pannoM kI eka pANDulipi prApta hai , jo vaidyakazAstra hai| isa prAkRta grantha ko kavi harapAla ne likhA hai / grantha kI Adi aura anta bhAga isa prakAra hai - --247

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Adi bhAga- NamiUNa jiNo vijjo bhavabhamaNevAhi phaTTaNasamattho / puNa vijayaM payAsami jaM bhaNiyaM puvvasUrIhiM // 1 // gAhAbaMdhe virayami dehiNaM roya NAsaNaM paramaM / harivAlo jaM vullaI taM sijjhai gurUpasAeNa // 2 // anta bhAga- haraDaI vArti samaMjali teNa suNIreNa pakkhAlijjA / liMge vAhi pasAmai bhAsijjai joya sArohiM / / 255 // harivAleNa ya raiyaM puvvavijehiM jaM jiNidiLeM / buhayaNa taM mahu khamiyahu hINahiye jaM ji kavvoya // 256 / / iti parAkRta vaidyaka smaaptm| jaina bhaNDAroM meM prAkRta bhASA kI kucha aisI kRtiyAM bhI saMgrahita hai, jinakA abhI taka prakAzana nahIM ho sakA hai| inameM pajhanandi kI dharmarasAyana , DhADhasI muni kI DhADhasI gAthA , muni yazakIrti kI jagasundarI prayogamAlA , muni dharmacandra ka dharmacandra prabandha evaM ajita bramhacArI kI kallANaloyaNA ke nAma ullekhanIya haiM / ye sabhI racanAeM prAkRta kI mahatvapUrNa kRtiyAM haiM, DhADhasI gAthA : - rAjasthAna ke jaina zAstrabhaNDAroM meM abhI taka mAtra do pANDulipiyAM prApta huI haiN| isakI eka pANDulipi udayapura ke saMbhavanAtha maMdira meM saMgrahita hai| dUsarI pANDulipi jayapura ke bairAThiyoM ke maMdira meM prApta hotI hai ,jo eka guTake meM anya pANDulipiyoM ke sAtha saMgrahita hai| isake kartA koI kASThasaMghI AcArya haiM, jo DhADhasI muni ke nAma se prasiddha the| 16vIM zatAbdI ke zrutasAgarasUri ne SaTapAhuDa kI TIkA meM isa grantha kI eka gAthA uddhRta kI hai| DhADhasI gAthA meM 38 gAthAeM haiN| hiMsA ke sambandha meM kahA hai : - rakkhaMto vi Na rakkhai sakasAo jaivi jaivaro hoii| mAraMto vi ahiMso kasAya rahio Na sNdeho| arthAt yadi koI yativara kasAya yukta hai to jIvoM kI rakSA karatA huA bhI jIva rakSA nahIM karatA tathA kasAya rahita jIva jIvoM kA hanana karatA huA bhI ahiMsaka kahA jAtA hai , isameM koI saMdeha nhiiN| dharmacandra prabandha : yaha prAkRta bhASA kI eka stuti paraka laghu kRti hai, jisameM mAtra 20 gAthAoM meM bhaTTAraka dharmacandra kA guNAnuvAda kiyA gayA hai| -248

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jagasundarI prayogamAlA : - __ jagasundarI prayogamAlA muni yazaH kIrti dvArA nibadva hai / yadyapi prastuta graMtha kI eka mAtra pANDulipi meM aMtima patra nahIM hone se kavi ke saMbadha meM nAmollekha ke atirikta vizeSa paricaya prApta nahIM hotA lekina yaza:kIrti kI aprabhaMza bhASA meM nibaddha pANDavapurANa evaM caMdraprabhapurANa do kRtiyA~ milatI haiM jo 12 vIM zatAbdI kI kRtiyA~ haiM aura unameM kavi ne apane nAma ke pUrva muni zabda likhA hai tathA apane ko bhI guNakIrti kA ziSya honA batalAyA hai / yazaHkIrti kA gujarAta meM se vizeSa saMbaMdha rahA thA / jagasundarI prayogamAlA Ayurveda kA eka mahatvapUrNa graMtha hai jisameM 42 adhikAra haiN| prAraMbha meM graMthakartA ko dharma , artha evaM kAma ke lie Arogya honA ko avazya batalAyA gayA hai isIlie ArogyatA ke upAyoM kA jJAna honA bhI Avazyaka mAnA hai dhammatthakAmamUla ,jamhA maNa ANa hoI Aroya / jamhA tassa uvAyaM , sAhiyaM taM NisAmeha // 1 // isI taraha apane graMtha kA nAma bhI prAraMbhika gAthAoM meM nimna prakAra batalAyA hai| hAriya carayasussuva vijayasatthe ayANa mANovi / jAMgehi tahaya mAlA bhaNAmi jagasuMdarINAma // 2 // sandarbha / . paNDita paramAnanda zAstrI ,jaina granthaprazasti saMgraha 2. bhaTTAraka sampradAya pRSTa 158 3. nAthUrAma premI , jaina sAhitya aura itihAsa pRSTha 3834 4. vIrazAsana ke prabhAvaka AcArya dillI , 1975 pRSTha 184 5. jaina dharma kA prAcIna itihAsa bhAga-2 pRSTha 528 6. rAjasthAna kA jaina sAhitya , jayapura ,1977 pRSTha ,37 7. vIrazAsana ke prabhAvaka AcArya dillI , 1975 pRSTha 213 8. jaina grantha bhaNDArsa ina jayapura eNDa nAgaura , jayapura pRSTha 29 9. tIrthaMkara mahAvIra aura unakI AcArya paramparA , bhAga-3, 1992 , pRSTha 378-380 10. vahI , pRSTha 392-394 11. bhaTTAraka sampradAya lekhAMka 288 12. anekAnta varSa 4 , kiraNa 1, pRSTha 113 / / 13. jaina dharma kA prAcIna itihAsa , bhAga- 2 , pRSTha 534 -537 14. jaina, pI. sI. ; e DiskripTiva kaiTalAga Apha menuskripTsa ina da bhaTTAraka grantha bhaNDAra , nAgaura, jayapura 1981 15. jaina grantha bhaNDArsa ina jayapura eNDa nAgaura , jayapura pRSTha 64 16. jaina grantha bhaNDArsa ina jayapura eNDa nAgaura , jayapura pRSTha 71 -0-0-0 -249

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30. davvasaMgaheNiddhiMvissajaNINamulladiTTI - DaoN.dharmendra jaina, jayapura davvasaMgaho NAma pAiyagaMtho Ayariya nnemicNdviriystthotthi| imA rayaNA dasamasadIe viraidA / jaiNadaMsaNe satthaM imaM aippasiddhaM vttttde| edammi gaMthe jaiNadaMsaNassa sAraM vijte| imA lahurUvA vi aNuvamA kidI atthi| gaMthamajjhe savvattha visayavatthuvaNNaNaM lakkhaNiyaselIi kidN| pattegaM lakkhaNaM davvabhAvAvekkhAe ya vavahAraNicchayadiTThIe nniruuvidN| NicchayavavahAradiTThIe jeNhaparaMparAe ajjhappajagammi davyasaMgaho aippayalido jaado| gaMthe aTThapaNNAsA gAhA sNti| ___gaMthassa Arambhe maMgalAyaraNe AyariyaNemicaMdamuNI vissaM lakkhiya paDhamaM davvaM vissaM, tti kdhedi| attha khalu davyasadde pamANamavi lkkhijji| jIvamavi davvaM, ajIvamavi davvaM kadhaNe Nayo vi sijjhi| tado savvaNhUsaruvaM lhijji| jadA - deviMdaviMdavaMdaM jiNavaravasaheNa jeNa nnihittuN| attha savvaNhUsarUvaM susiddhmev| bhattisarUvamavi paDhamagAhAe uvlhijji| taM savvaNhuM vaMde-paNamAmi, keNa payAreNa-sirasA mattheNa NamaNapuvveNa savvadA sayA nnmaami| tadaNaMtaraM davvasaMgahe jIvasarUvo NavaviheNa vnnnnido| vivihadaMzaNiyamadapuvvayaM jIvalakkhaNaM Nihosamattha pruuvidN| jadhA - jIvo uvaogamao amutti kattA sdehprimaanno| bhottA saMsArattho, siddho so visssoddgii| - davvasaMgaho, gAhA-2 uttagAhAe NegaviyAragANa NirAyaraNapuvvayaM vaNNaNaM vttttde| neyAyiadaMsaNigo muttajIvaM nnaanndNsnnrhiaNmnnnni| cavyAo ceyaNasahidadavvaM Na annumnnnnde| bhaTTacavvAyadaMsaNe jIvaM NiccaM muttiyaM tti khi| saMkhadaMsaNe appA kattA Na bucci| neyAyia-mImAMsaga-saMkha-dasaNAI appaM sarIrappamANaM na vuttA saga-attaM hiyayakamalaTThidavaDabIyAdisamaM mnnnnire| boddhadasaNaM AdaM khaNiaM Niruvai / sadAsivamado appaM sayA savvaNhurahidaM mnnnni| bhaTTacavvAA appaM siddhaM mnnnnNte| edANaM savvamadANaM khaNDaNassa uttagAhAe NavavisesaNANaM kdhnnmtthi| davvasaMgahe savvattha NayapamANehiM vatthuNirUvaNaM kriiaN| jadhA - aTTha caduNANadaMsaNa, sAmaNNaM jIvalakkhaNaM bhaNiyaM / vavahArA suddhaNayA, suddhaM puNa daMsaNaM NANaM // -davyasaMgaho, gAhA-6 attha paDhamabidiyacalaNe tikkAle cadupANA.....tti kadhaNe pamANeNa jIvassa lakkhaNaM sijjhi| tadIyacauttha-calaNe vavahAraNicchayaNayANaM ulleho vijjae y| tikkAle cadupANA, iMdiyavalamAuANapANo y| vavahAro so jIvo, NicchayaNayado du cedaNA jss|| -davyasaMgaho, gAhA-6 -250

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edAe gAhAe vi puvvaddhe uttaraddhe ca pamANaNayehiM vaNNaNaM dekhiji| evameva thale thale pamANaNayANaM NAmaM vtttti| davvasaMgaho jIvalakkhaNaM NeagAhAhi kiccA jagammi jIvatthiccaM pruuvei| vaNNarasapaMcagaMdhA.......(davyasaMgaho, gAhA-7), saddo baMdho suhumo.....(davvasaMgaho, gAhA-16) iccAitthale bhoi aviNNANassa saMdabbho lhijji| puDhavajilate uvAU .....(davvasaMgaho, gAhA-11), samaNAamaNAgeyA.....(davyasaMgaho, gAhA-12), ThANe jIvaviNNANassa, vaNaphphaiviNNANassa ca suNhapaddhaie vnnnniia| evamAyariyaNemicaMdo paDhamAhiyAre chaddavyANaM suvitthiavaNNaNaM kri| tadaNaMtaraM jIvassAvayArIiM kAI davvAI tANaM ca appaNA saha keriso saMbaMdhotthi vitthareNa nniruuvi| savvapaDhamaM appaNo ke ke kaTThakArayA tANaM vaNNaNaM pAraMbhijjai - kasAyabhAvA duhakAraNAI hoti| micchattAviradipamAdajogakohAdibhAvA davvasaMgahe bhAvAsavarUve gmijji| bhAvAsavo khalu saMsArabhamaNakAraNaM hoi ev| erisI gAhA davyasaMgahassa vidiyAhiyAre uvlhijji| micchattAviradipamAdajogakodhAdaoatha vinnnneyaa| paNapaNapaNadasatiyacadu , kamaso bhedA du puvvss|| -davvasaMgaho, gAhA-30 tado baMdhassa lakkhaNaM bheyA ca vnnnnidaa| jado AsavabaMdho saMsArassa heuu| tadaNaMtaraM saMvaraNijjarArUve saMsAramuttikAraNAI vnnnniaaii| saMsArANaMtaraM mokkho hvi| mokkho hu appaNo pariNAmo jo savvassa kammaNo khayaheU hoi| mokkhassa kAraNaM rayaNattayaM, taM rayaNattayaM khu appammi eva hoi| tamhA mokkhakAraNaM aadaa| mokkho bhAradadesassa savvadaMsaNesu jeNa keNa vi siikriji| bhAradIyadaMsaNesu mokkho paramaM lakkhaM atthi erisamokkhassa caccA davyasaMgahassa bidiyAhiyAre vttttde| saMsArabhamaNaM jhANeNa viNA hoi eva aNeNeva kAraNeNa davvasaMgahe jhANabbhAsassa peraNA vijjae - duvihaM pi mokkhaheuM jhANe pAuNadi jaM muNI nniymaa| tamhA payattacittA jUyaM jhANaM smnmsh|| -davvasaMgaho, gAhA-47 jhANeNa mokkho lahijjai ado payattapuvvaeNa jhANabbhAso kridvyo| jhANassopAyo imotthi jaM iTTaNiTThapayatthesu mA mujjhaha mA rajaha mA dussaha tadA vicittaNANappasiddhI hvi| uttaM ca davvasaMgahe - mA mujjhaha mA rajaha mA dussaha iTThaNiTThaatyesu / thiramicchaha jai cittaM vicittjhaannppsiddhiie|| -davvasaMgaho, gAhA-48 pAINakAle kammi vi thale jhANasikkhaNakeMdo NAsI, iNaM davyasaMgahe jhANavisaayavaNNeNa sutarAM sijjhi| vaTTamANe tu Negatthale jhANakeMdA hoti| vatyudo davvasaMgahe jhANabhAsassa peraNA atthi, jhANovAyo vi kdhido| -251 -

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jhANassa peraNA uvAyaM ceva jhANasAhaNAI hvNti| jhANavaNNaNapasaMge bhAradadesassa maMtavijA pgttidaa| jadhA - paNatIsasolachappaNa cadudugamegaM ca javahajjhAeha / parameTThivAcayANaM aNNaM ca guruvesenn|| -davvasaMgaho, gAhA-49 paNatIsakkharANaM solakkharANaM chakkharANaM paNakkharANaM cadukkharANaM dugakkharANaM egakkharassa ca vivihAI maMtAI saMti / etto airicca NegAiM maMtAI hoMti, te savvAiM guruvaeseNa paaijji| tattheva jeNhadasaNassa visiTThapadadhArayANaM paccaparameTThINaM lakkhaNAI vttttire| paMcaparameTThilakkhaNe paMcagAhA sNti| gAhAe kassa vi vattivisesassa NAmaM nntthi| sAmaNNadiTThIe savvattha guNA lakkhiya vaNNaNaM viji| vatyudo davyasaMgahe Ayariyassa lakkhaNaM sAhulakkhaNaM ca svvjnniinnmtthi| taM jadhA - dasaNaNANapahANe vIrimacArittavaratavAyAre appaM paraM ca juMjai so Ayario muNI jheo|| -davvasaMgaho, gAhA-52 dasaNaNANapahANeNa vIriyacArittatavAyAre sagaM aNNaM ca sujuMjai so muNI Ayariyo NAmaM vuccde| evameva sAhussa lakkhaNamavi uvajuttaM dvvsNghe| jadhA - dasaNaNAsamaggaM maggaM mokkhassa jo hu cArittaM / sAdhayadi NiccasuddhaM sAhU sa muNI Namo tss|| -davvasaMgaho, gAhA-54 dasaNaNANasahidaM jo mokkhassa maggaM Niccasuddho bhaviya sAdhayadi so muNI sAhU NAmeNa loge puujijji| jadhatthaM ducArittaM kiM ? assa lakkhaNaM samIINeNa NemicaMdAyario kahei davvasaMgahe - asuhAdo viNivittI suhe pavittI ya jANa cArittaM / vadasamidiguttirUvaM vavahAraNayA du jiNabhaNiyaM // -davvasaMgaho, gAhA-45 asuhakajjeNa viratto haviya suhakajje pavattaNaM NAma cArittaM / edammi cArittalakkhaNe muNipavyajjA eva cAritta adhavA sAvagANuvayaM dhAraNaM cArittaM tti kadhiaM kiM du pAvapavattie dUro bhaviya puNNapavattii saMlaggadA khalu cArittaM / cArittameva jIvassa uvayArayaM, erisI paribhAsA davyasaMgahe vijjde| agge uNo cArittassa visiTThA paribhAsA vuccai - bahiramaMtarakiriyAroho bhavakAraNaNNAsaha / NANissa jaM jiNuttaM taM paramaM sammacArittaM / / -davvasaMgaho, gAhA-46 saMsArakAraNaNAsaTuM NANissa bahirabbhaMtarANaM kiyANaM Niroho paramaM cArittaM / aMto bahi vA kiM vi No calai, bhisaM saMti taM khu caarittN| jhANassa peraNaM kuNai gaMthakAro jaM tumhe jaNA jhANaM samabbhasaha jado muNI NiyameNa muttiM lhi| tadaNaMtaraM appalayassovAyo vi vaNNai - -- 252 - -252 -

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mA ciTThaha mA jaMpaha mA ciMtaha kiM jeNa hoi thiro / appA appammi rao iNameva paraM have jhANaM // - davvasaMgaho, gAhA-56 kimavi mA ciTThaha, kimavi mA jaMpaha, kiM vi mA ciMtaha evaM karaNeNa sagappA thiro hoi, iNameva para jhANaM have | jhANassa sAhaNAI mukkheNa tivihAraM hvNti| tavo, sudaM, vadaM ca / tavasudavadasahidappA evaM jhANarahadhuraMdharo have / jhANasiddhatthaM kammi vi thale gamaNassa AvasagadA Natthi kiM dusayA tavasudavadasu NiradA hoi / uttaM ca tavasudavadavaM cedA jhANarahadhuraMdharo have jamhA | tamhA tattiyaNiradA, talluddhIe sadA hoha || - davvasaMgaho, gAhA - 57 evaM payAreNa davvasaMgahe vissajaNINamullANaM paye paye daMsaNaM hoi / savvassa kide gaMthoM ayaM uvajoI vaTTade / -0-0-0 -253

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31. karnATaka kI katipaya madhyayugIna yazasvinI zrAvikAe~ ___-pro. DaoN. zrImatI vidyAvatI jaina, noeDA karnATaka-pradeza bhAratIya saMskRti ke liya yugoM-yogoM se eka triveNI-saMgama ke samAna rahA hai| bhAratIya-bhUmaNDala ke tIrthayAtrI apanI tIrthayAtrA ke krama meM yadi usakI caraNa-raja-vandana karane ke liye vahA~ na pahu~ca sakeM, to unakI tIrthayAtrA adhUrI hI mAnI jaayegii| bhArata ke bahuAyAmI itihAsa ke lekhana meM karnATaka kA mahatvapUrNa sthAna rahA hai| usake pUrva-madhyakAlIna rAjavaMzoM ne jahA~ apanI rASTravAdI evaM janakalyANI bhAvanAoM se apanI-apanI rAjya-sImAoM ko surakSita rakhA aura apane yahA~ ke vAtAvaraNa ko suzAnta evaM kalAtmaka banAyA, vahIM unhoMne apanI saMskRti, sabhyatA, kalA evaM sAhitya ke vikAsa ke liye sAdhakoM, cintakoM, lekhakoM, kalAkAroM evaM zilpakAroM ko, binA kisI bheda-bhAva se sabhI prakAra kI sAdhanA-suvidhAe~ upalabdha karAI, unake lie vidyApIThe, adhyayana-zAlAe~ evaM granthagAra sthApita kara, unhoMne jo bhI racanAtmaka kArya kiye, ve bhAratIya paramparA ke Adarza evaM anupama udAharaNa haiN| vahA~ ke puruSa-varga ne jo-jo kArya kiye, ve itihAsa ke amiTa adhyAya to haiM hI, vahA~ kI mahilAoM ke saMracanAtmaka kArya bhI atyaMta anukaraNIya evaM preraka rahe haiN| cAhe sAhitya-lekhana ke kArya hoM, pANDulipi kI surakSA evaM pratilipi-sambandhI kArya ho, mandira evaM mUrti-nirmANa athava pratiSThA-kArya hoM aura cAheM prazAsana sambandhI kArya hoM, vahA~ kI jAgRta nAriyoM ne puruSoM ke samakakSa hI zAzvata-mUlya ke kArya kiye haiN| karnATaka kI adarza rAjya-praNAlI ne nArI ko sAtavIM-AThavIM sadI se binA kisI roka-Toka ke samAnAdhikAra de rakheM the| karnATaka ke sAmAjika itihAsa ke nirmANa meM yogadAna karane vAlI aisI saikar3oM sannAriyA~ haiM, jinakI itihAsa-preraka prazastiyA~, vahA~ ke zilAlekhoM, mUrtilekhoM evaM stambha-lekhoM meM aMkita haiM tathA vahA~ kI kiMvadantiyoM, mahAvatoM evaM lokagAthAoM meM Aja bhI jIvita haiN| kintu jahA~ taka mujhe jAnakArI hai abhI taka usakA sarvAMgINa sarvekSaNa evaM samagra mUlyAMkana nahIM ho sakA hai| katipaya zrAvikAoM kA saMkSipta paricaya yahA~ prastuta karane kA prayAsa hai| viduSI kaviyitrI kantI devI ___ kaviyitrI kantI-devI (san 1140 ke lagabhaga) una viduSI lekhikAoM meM se hai, jisake sAhitya evaM samAja ke kSetra meM bahuAyAmI kArya to kiye, kintu yaza kI kAmanA usane kabhI nahIM kii| kannar3a mahAkavi bAhubalI (san 1560) ne apane 'nAgakumAra-carita' meM usakI daivI-pratibhA tathA ojasvI vyaktitva kI carcA kI hai aura batalAyA hai ki vaha dvAra-samudra (dora-samudra) ke rAjA ballAla dvitIya kI vidvatsabhA kI sammAnita viduSI kaviyitrI thii| bAhubalI ne usake liye vidvatsabhA kI maMgala-lakSmI, zubhaguNacaritA, abhinava-vAgdevI jaisI aneka prazastiyoM se sammAnita kara usakI guNa-garimA kI prazaMsA kI hai| ina sandarbho se yaha spaSTa hai ki kantI ukta ballAlarAya kI rAjya-sabhA kI guNa-gariSThA sadasyA thii| -254

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mahAkavi devacandra ne apanI 'rAjAvalikathe' meM kantI viSayaka eka rocaka ghaTanA kA citraNa kiyA hai| usake anusAra dorarAya ne dorasamudra nAmaka eka vizAla jalAzaya kA nirmANa karAyA tathA eka brAhmaNakulIna dharmacandra ko apane mantrI ke pada para niyukta kara liyA thaa| usa mantrI kA putra vahIM zikSaka kA kArya karane lgaa| usakI vizeSatA yaha thI ki vaha jyotiSmatI nAmakI eka viziSTa tailauSadhi kA nirmANa karatA thA, jo buddhivardhaka thii| vaha mandabuddhi vAloM kI buddhi bar3hAne ke liye eka khurAka meM yadyapi kevala AdhI-AdhI bU~da hI detA tA, lekina loga usakA sAkSAt prabhAva dekhakara Azcaryacakita kara jAte the / kantIdevI bhI auSadhi kA sevana karatI thii| eka dina avasara pAkara tatkAla hI tIvra buddhimati banane ke uddezya se usane eka hI bAra meM usa davA kA adhika mAtrA meM pAna kara liyaa| adhika mAtrA ho jAne ke kAraNa usake zarIra meM itanI dAha utpanna huI ki use zAnta karane ke liye vaha daur3akara kue~ meM kUda pdd'ii| kuA~ adhika gaharA na thA / ataH vaha usI meM khar3I rhii| usI samaya usameM kavitva-zakti kA prasphuraNa huA aura tAra svara se vaha svAnirmita kavitAoM kA pATha karane lgii| usakI kavitAe~ sunakara sabhI prasanna ho uThe / rAjA dorAya ko jaba yaha sUcanA milI, to unhoMne apane parama - vizvasta, ubhayabhASA - cakravartI abhinavapampa ko usakI parIkSA lene hetu usake pAsa bhejaa| vahA~ jAkara pampa ne usase jitane bhI kavitva-maya prazna kiye, kantI ne una sabhI kA saTIka uttara dekara pampa ko vismita kara diyA / dorarAya ne yaha sunakara tathA usakI alaukika kAvya-pratibhA se prasanna hokara tatkAla hI apanI vidvatsabhA kA sadasya ghoSita kiyA tathA use 'abhinava - vAgdevI' ke alaMkaraNa se alaMkRta kiyaa| suprasiddha itihAsakAra DaoN. Ara. narasiMhAcArya kI mAnyatA ke anusAra ukta dora rAya kA aparanAma hI ballAla thA aura usakI rAjya sabhA meM mahAkavi abhinava pampa, kantI Adi prasiddha kaviyoM kA jamaghaTa rahatA thaa| kantI kI zraMkhalAbaddha racanAe~ vartamAna meM anupalabdha haiN| kantI - pampana samasyegaLu isa nAma se kucha prakIrNaka padya avazya milate haiN| unheM dekhakara yaha vidita hotA hai ki samasyA-pUrti karane meM vaha usI prakAra nipuNa thI. jisa prakAra kI campA-nareza koTibhaTTa zrIpAla kI mahArAnI aura ujjayini- nareza rAjA puhipAla kI putrI - rAjakumArI maiNnaasundrii| kannar3a-sAhitya ke prakANDa vidvAn paM. ke. bhujabalI zAstrI ke anusAra 'kantI pampana samasyegaLu' isa nAma ke jo bhI padya vartamAna meM upalabdha hote haiM. ve sAhitya kI dRSTi se atyanta sundara haiM. yahA~ para unameM se kevala eka padya, jo ki niroSThya-kAvya kA udAharaNa hai, prastuta kiyA jA rahA hai - - sura nagara nAgAdhIza / hIrakirITAgralagnacaraNasarojA / dhIrodAracaritrotsAritakaluSaudharakSisalkarinahA~ // 255

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dAna-cintAmaNi attimabbe mahAsatI zrAvakiA attimabbe (10vIM sadI) na kevala karnATaka kI, apitu samasta mahilA-jagat ke gaurava kI pratIka hai| 11 vIM sadI ke prArambha ke upalabdha zilAlekhoM ke anusAra yaha vIrAMganA dakSiNa-bhArata ke kalyANasAmrAjya ke uttaravartI cAlukya-nareza tailapadeva Ahavamalla ke pradhAna senApati mallappa kI putrI tathA mahAdaNDanAyaka vIra nAgadeva kI dharmapatnI thii| usake zIla, pativratya evaM vaiduSya ke kAraNa svayaM samrATa bhI usake prati pUjya-dRSTi rakhate the / kahA jAtA hai ki apane akhaNDa pAtivratya-dharma aura jinendra -bhakti meM aDiga-AsthA ke phalasvarupa usane godAvarI-nadI meM AI huI pralayaMkArI bAr3ha ke prakopa ko bhI zAnta kara diyA thA aura usameM phaMse huye saikar3oM vIra-sainikoM evaM apane pati daNDanAyaka nAgadeva ko vaha surakSita vApisa le AI thii| kavi cakravartI ranna (ratnAkara) ne apane ajitanAthapurANa kI racanA attimabbe ke Agraha se usI ke Azraya meM rahakara kI thii| mahAkavi ranna ne usakI udAharatApUrNa dAna-vRtti, sAhityakAroM ke prati vAtsalya-prema, jinavANI-bhakti, niraticAra-zIlavrata evaM sAtvika-sadAcAra kI bhUri-bhUri prazaMsA kI hai aura use 'dAna-ciMtAmaNi' kI upAdhi se vibhUSita kiyA hai| attimabye svayaM to viduSI thI hI, usane kucha navIna-kAvyoM kI racanA ke sAtha hI prAcIna jIrNa-zIrNa tADapatrIya pANDulipiyoM ke uddhAra kI ora bhI vizeSa dhyAna diyaa| usane ubhaya-bhASA-cakravartI mahAkavi ponna kRta 'zAntinAtha-purANa' kI pANDulipi kI 1000 pratilipiyA~ karAkara vibhinna zAstra-bhaNDAroM meM vitarita karAI thiiN| yahI nahIM, usane svarNa, rajata, hIrA, mANikya Adi kI 1500 bhavya-mUrtiyA~ banavAkara vibhinna jinAlayoM meM pratiSThita karAI thiiN| ina satkAryoM ke atirakti bhI usane vibhinna jinAlayoM meM pUjA-arcanA hetu pracura-mAtrA meM bhUdAna aura sarvatra catuvadhi dAnazAlAe~ bhI khulavAI bhii| isa prakAra bha. mahAvIra ke sarvodayI-AdarzoM kA cahu~ ora pracAra-prasAra kara usane yazArjana kiyA thaa| vIrAMganA sAvayibbe vIrAMganA sAviyabbe zrAvaka-ziromaNi, vIramArtANDa, mahAsenApati cAmuNDarAya (10vIM sadI) kI samakAlIna thii| usake pati kA nAma lokavidyAdhara thA, jo baDA hI vIra evaM parAkramI thaa| vaha gaMga-nareza raksagaMga kA bhAnajA thaa| sAviyabbe ko chuTapana se hI raNa-vidyA kI zikSA dI gaI thii| usameM vaha bar3I kuzala siddha huii| apanI isI vizeSatA ke kAraNa digvijayI jaina samrATa khAravela kI mahArAnI sindhulA ke samAna hI, eka ora to vaha apane pati sAtha vIratA-pUrvaka yuddha kA sAtha detI thI aura dUsarI ora atirikta samayoM meM vaha naiSThika zrAvikA-vratAcAra kA pAlana bhI karatI thii| zravaNabelagolA kI bAhubali-basadi ke pUrva kI ora eka pASANa meM TaMkita lekha meM isa vIrAMganA ko revatIrANI jaisI pakkI zrAvikA, sItA jaisI pativratA, devakI jaisI rupavatI, arundhatI jaisI dharma-priyA aura jinendra - 256 -

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bhakta batalAyA gayA hai| usI prastara meM eka anya dRzya bhI utkIrNita hai, jisameM isa vIra mahilA ko ghor3e para savAra dilAte hue hAtha meM talavAra uThAe, apane sammukha Ate huye hAthI para savAra eka yoddhA para prahAra karate huye citrita kiyA gayA hai| ghaTanA sthala kA nAma bageyura likhA huA hai| bahuta sambhava yaha begayura vahI durga ho, jisa para AkramaNa karake mahAsenApati cAmuNDarAya ne rAjA tribhuvana vIra ko yuddha meM mArakara bairikulakAlaMdaNDa kA viruda prApta kiyA thaa| bahuta sambhava isI yuddha meM loka-vidyAdhara aura usakI vIrAMganA patnI sAviyabbe bhI cAmuNDarAya kI ora se 'yuddha meM sammilita hue hoM ? dRDha saMkalpI mAtA kAlalA devI karnATaka ko dakSiNAMcala kI atizaya tIrthabhUmi zravaNabelagolA ke nirmANa kA zreya jina yazasvinI mahimAmayI mahilAoM ko diyA gayA hai, unameM prAtaH smaraNIya tIrthasvarUpa mAtA kAlalA devI (10vIM sadI) kA sthAna sarvopari hai| yaha vahI sannArI hai, jisane pUrvajanma meM sukarma kiye the aura phalasvarupa vIra parAkramI raNadhurandhara senApati cAmuNDarAya jaise devopama zrAvakaziromaNi putraratna kI mA~ banane kA saubhAgya prApta kiyA thaa| vaha pratidina zAstra-svAdhyAya ke liye dRr3ha pratijJA thI / usane eka dina apane gurudeva AcArya ajitasena ke dvArA AdipurANa meM varNita podanApurAdhIza-bAhubalI kI 525 dhanuSa uttuMga haritvarNIya pannA kI bhavya mUrti kA varNana sunA to vaha bhAva vibhora ho utthii| isakI carcA usane apane AjJAkArI putra cAmuNDarAya se kI aura usake darzanoM kI icchA vyakta kI, to vaha bhI apane hajAra kArya choDakara apanI mAtA kI manobhilASA pUrNa karane hetu apane gurudeva si.ca. nemicandra ke sAtha usa maMgala mUrti kA darzana karane ke liye takSazilA (vartamAna meM pAkistAna meM sthita ) ke pAsa podanapura kI yAtrA ke liye nikala pdd'aa| yaha yAtrA kAphI lambI thI / calate-calate ve sabhI kaTavapra ke eka bIhar3a vana meM rAtri vizrAma ke liye viramita ho ge| rAtri ke antima prahara meM una tInoM ne eka-sadRza svapna dekhA ki jisameM devI unheM kaha rahI hai ki 'jahA~ tuma loka vizrAma kara rahe ho, usI ke sAmane vAlI pahAr3I ke zikharAgra para eka abhimantrita zara sandhAna kro| vahIM se tumheM bAhubali ke darzana ho jAegA / ' prAtaHkAla hote hI dhanurdhArI cAmuNDarAya ne apane sAmane kI pahAr3I (viMdhyagiri) kI zaila - zilA para NamokAra maMtra kA uccAraNa kara zara-sandhAna kiyA aura aisI anuzruti hai ki bANa lagate hI patthara kI parateM TUTakara girI aura usameM se gommaTeza bAhubalI kA zIrSabhAga spaSTa dikhAI dene lgaa| bAda meM zilA ko ariSTanemI ne bAhubalI kI mUrti kA rUpa pradAna kiyaa| dhanya hai, vaha mAtA kAlalA devI, jisake dRr3ha saMkalpa aura mahatI preraNA se vizva-vizruta, rUpa- zilpa aura mUrti - vijJAna kI advitIya kalAkRti ko vIra senApati cAmuNDarAya ne nirmApita kraayaa| usa saumya, suDaula, AkarSaka evaM bhavya mUrti ko dekhakara kevala jinabhakta hI nahIM, sArA vizva bhI abhibhUta hai tathA usakA darzana kara usakI atizaya bhavyatA evaM saundarya para Azcaryacakita rahA jAtA hai| ise vizva kA AThavA~ Azcaya mAnA gayA hai| -257

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dharma-parAyaNa - ajitAdevI pUrvajanma ke susaMskAroM ke sAtha-sAtha meM yadi dharmaparAyaNatA evaM pati parAyaNatA kA mizraNa ho jAye, to mahilA ke jisa antarbAhya zIla-saundarya-samanvita-svarUpa kA vikAsa hotA hai, usI kA carama vikasita rUpa thA ajitAdevI (10vIM sadI) kA mahAn vyaktitva / vaha gaMga-nareza ke mahAmantrI evaM pradAna senApati vIravara cAmuNDarAya kI dharmapatnI thii| vaha jitanI patiparAyaNA thI, utanI hI dharmaparAyaNA bhI / usake pati cAmuNDarAya jaba-jaba prajAhita athavA rASTrasurakSA ke kAryoM ko sampanna karane hetu bAhara rahate the, taba-taba unake AMtarika kAryoM kI nigarAnI kI jimmedArI unhI kI rahatI thii| kahate haiM ki jisa samaya zilpI - sAmrATa ariSTanemi, akhaNDa-brahmacaryavrata dhAraNa kara aharniza bAhubalI - gommaTeza kI mUrti ke nirmANa meM saMlagna thA, taba ajitAdevI usakI tathA usake parivAra kI suvidhAoM kA bar3A dhyAna rakhatI thii| jaba taka usa mUrti kA nirmANakArya pUrNa sampanna nahIM huA, taba taka vaha svayaM bhI usa kArya kI samApti paryanta vratAcaraNa, tapa evaM svAdhyAya pUrvaka apane dina vyatIta karatI rahI aura jaba mUrti nirmANa kA kArya pUrNa huA, to bhakti-vibhora hokara usane sarvaprathama devAlaya parisara svaya sApha kiyA, dhoyA-poMchA aura deva-darzana kara ariSTanemi tathA usake parivAra ke prati AbhAra vyakta kiyA aura apanI sAsumAtA ke pAsa jAkara gadgada - vANI meM harSotphulla netroM se unheM usakI sukhada sUcanA dii| tIrtha-bhaktA gullikAyajjI niSkAma bhakti meM kRtrima pradarzana nahIM, balki mana kI RjutA, kaSTasahiSNutA evaM svAtma - santoSa kI jIvana-vRtti paramAvazyaka hai| vaibhava-pradarzana meM to mAna - kaSAya kI bhAvanA kA pratyakSa athavA parokSa rUpa meM antarnihita rahanA svAbhAvika hai aura isakA sarvazreSTha udAharaNa hai, paramazreTha gommaTeza kI mUrti ke prathama mahAmastakAbhiSeka ke samaya kI vaha ghaTanA, jaba vIravara cAmuNDarAya ne kezarayukta zuddha dugdha ke ghar3oM ke ghar3e gommaTeza ke mahAmastaka para ur3ela diye kintu vaha unakI kamara se nIce taka na A skaa| paNDita, mahApaNDita, sAdhu, muni, AcArya, upasthita rAjAgaNa Adi sabhI Azcaryacakita, aneka upAya kiye gaye ki mahAmastakAbhiSeka sarvAMgINa ho, kintu sabhI ke prayatna asaphala evaM sabhI loga niAza evaM udAsa, aba kyA ho? kisI kI bhI samajha meM nahI A rahA thA ki Akhira zubhakArya meM vaha vighna kyoM ? yaha kaSTadAyI upasarga kyoM ? sabhI kI ghora - mantraNA huii| dera taka Akula-vyAkula hote huye sabhI ne yaha nirNaya kiyA ki Aja upastita sabhI bhavyajanoM ko abhiSeka kA avasara pradAna kiyA jAyA / jo bhI cAhe, maMca para Akara mahAmastakAbhiSeka kara le| bhIr3a meM sabase pIche sAmAnya ghUmila vastra dhAraNa kiye hue daridra vRddhA, jo bar3I umaMga ke sAtha abhiSeka karane AI thI kintu bhIr3a dekhakara vaha pIche hI raha gaI thI, usa ghoSaNA se use bhI abhiSeka kA suavasara mila gyaa| usake pAsa mUlyavAna dhAtu kA ghar3A nahIM, kevala eka nAriyala mAtra thaa| Tirakate-Tirakate vaha maMca para pahuMcI aura niSkAma bhakti ke Aveza meM bharakara jaise hI usane nArikela - jala se parama ArAdhya bAhubalI kA bhaktibhAva se abhiSeka kiyA, usase vaha mUrti ApAda-mastaka sarAbora hoii| yaha dekhakara sarvatra jaya-jayakAra hone lgaa| harSonmatta hokara nara-nArIgaNa nRtya karane lge| 258

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cAmuNDarAya ne usI samaya apanI galatI kA anubhava kiyA aura socane lagA ki sacamuca hI mujhe, sundaratama mUrti-nirmANa tathA usake mahAmastakAbhiSeka meM agragAmI rahane tathA kalpanAtIta sammAna milane ke kAraNa abhimAna ho gayA thaa| usI kA yaha phala hai ki sabake mujhe apamAnita honA par3A hai| itihAsa meM isa ghaTanA kI carcA avazya AyegI aura mere isa ahaMkAra ko bhAvI pIr3hI avazya kosegii| usI samaya cAmuNDarAya kA ahaMkAra vigalita ho gyaa| vaha mAtA gullikAyajI ke pAsa gyaa| vinamrabhAva se usake caraNasparza kiye, usakI bar3I sarAhanA kI aura usakI yazogAthA ko sthAyI banAye rakhane ke liye usane oNgana ke bAhara, gommaTeza ke ThIka sAmane usakI mUrti sthApita karA dii| yahI nahI, gommaTeza kI mUrti ke darzanoM ke liye darzanArtha-gaNa jaba jAne lagate hai, taba prArambha meM hI jo praveza-dvAra banavAyA gayA, usakA nAmakaraNa bhI usI bhakta-mahilA kI smRti ko akSuNNa banAye rakhane ke liye usakA nAma rakhA gayA - 'gullikAyajjI bAgilu' arthAt beMganabAI kA drvaajaa| usa dina cAmuNDarAya ne prathama bAra yaha anubhava kiyA kI pracura mAtrA meM dhana-vyaya, aTUTa-vaibhava evaM samprabhutA ke kAraNa utpanna ahaMkAra ke sAtha mahAmastakAbhiSeka ke liye prayukta svarNakalaza bhI, sahaja-svAbhAvika, niSkAma-bhaktiyukta eka nareTI bhara nArikela-jala ke sammukha tuccha hai| yaha bhI anuzrati hai ki vaha gullikAyajI mahilA nahIM, balki usa rUpa meM kuSmANDinI devI hI cAmuNDarAya kI parIkSA lene aura use nirahaMkArI banAne kI sIkha dena ke liye hI vahA~ AI thii| viduSI ratna pampAdevI hummaca ke sanna 1147 I. ke eka zilAlekha meM viduSI pampAdevI kA bar3e hI Adara ke sAtha guNagAna kiyA gayA hai| usakI anusAra vaha gaMga-nareza tailapa tRtIya kI suputrI tathA vikramAditya zAntara kI bar3I bahina thii| usake dvArA nirmApita evaM citrita aneka caityAlayoM ke kAraNa usakI yazogAthA kA sarvatra gAnA hotA rahatA thaa| usake dvArA Ayojita jina-dharmotsavoM ke bherI-nAdoM se diga-diganta gUMjate rahate the tathA jinendra kI dhvajAoM se AkAza AcchAdita rahatA thaa| kannar3a ke mahAkaviyoM ne usake caritra-citraNa ke prasagaM meM kahA hai ki - AdinAthacarita kA zravaNa hI pampAdevI ke karNaphUla, caturvidha-dAna hI usake hasta-kaMkaNa tathA jina-stavana hI usakA kaNThahAra thaa| isa puNyacaritrA viduSI mahilA ne urvitilaka jinAlaya kA nirmANa chane hue prAzuka -jala se kevala eka mAsa ke bhItara karAkara use bar3I hI dhUmadhAma ke sAtha pratiSThita karAyA thaa| pampAdevI svayaM paNDitA thii| usane aSTavidhArcana-mahAbhiSeka evaM caturbhakti nAmaka do granthoM kI racanA bhI kI thii| paTTarAnI zAMtalAdevI zravaNabelagolA ke eka zilAlekha meM hoyasala-vaMzI nareza viSNuvarddhana kI paTTarAnI zAntalAdevI (12vIM sadI) kA ullekha bar3e hI Adara ke sAtha kiyA gayA hai| vaha pati-parAyaNA, dharma-parAyaNA aura jinendra-bhakti meM agraNI mahilA ke rUpa meM vikhyAta thii| saMgIta, vAdya-vAdana evaM nRtyakalA meM bhI vaha niSNAtA thii| AcArya - 259 -

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prabhAcandra siddhAntadeva isake guru the| zAntalAdevI ne zravaNabelagolA ke candragiri ke zikhara para eka atyanta sundara evaM vizAla jinAlaya kA nirmANa karavAyA thA, jisakA nAma 'savati-gandhavAraNa-basadi' rakhA gyaa| savatigandhavAraNa kA artha hai - sautoM (savati) ke liye matta haathii| yaha zAntalAdevI kA eka upanAma bhI thaa| isa jinAlaya meM san 1122 I. ke lagabhaga bhagavAn zAntinAtha kI manojJa pratimA sthApita kI gaI thii| isa mandira meM pratiSThApita jinendra ke abhiSeka ke liye usake pAsa meM hI zAMtalAdevI ne gaMga-samudra nAmaka eka sundara bArahamAsI jalAzaya kA bhI nirmANa karavAyA thaa| sAtha hI usane nitya devArcana tathA jinAlaya kI bhAvI suvyavasthA tathA surakSA Adi ke nimitta aneka gA~voM kI jamIMdArI bhI usake nAma likha dI thii| ukta basatikA ke tRtIya stambha para eka zilAlekha bhI utkIrNa hai, jisameM ukta rAnI kI dharma-parAyaNatA kI vistRta prazaMsA karate hue use aneka vizeSaNoM se vibhUSita kiyA gayA hai| usameM ullikhita usake kucha vizeSaNa nimna prakAra haiM - abhinavarukmiNi, pAtivratya-prabhAva-prasiddha sItA, gIta-vAdya-sUtradhAra, manojarAja-vijaya-patAkA, pratyutpanna-vAcaspati, viveka-bRhaspati, lokaika-vikhyAta, bhavyajana-vatsalu, jinadharma-nirmalA, catuHsamaya-samuddharaNa, samyaktva cUDAmaNi aadi-aadi| Acala devI Acala devI (12vIM sadI) ke jIvana meM eka bar3I bhArI visaMgati thii| usakA pati candramaulI zaivadharma kA upAsaka thA, jaba ki vaha svaya thI jaindhrmaanuyaayii| kintu donoM ke jIvana-nirvAha meM koI kaThinAI nahIM aaii| kyoMki svabhAvataH donoM hI sahaja, sarala evaM samanvayavAdI the| candramaulI hoyasala-nareza vIra ballAla dvitIya kA mahAmantrI thA aura rAjya-saMcAlana meM atyaMta kuzala evaM dhiir-viir| apane pati kI sahamati pUrva Acala devI ne san 1182 ke dazaka meM zravaNabelagolA meM atyaMta bhavya evaM suramya vizAla pArzva-jinAlaya kA nirmANa karavAyA thA, jisakI pratiSThA dezIgaNa ke nayakIrti siddhAntadeva ke ziSya bAlacandra muni ne kI thii| yaha jinAlaya 'akkanabasadi' ke nAma se prasiddha hai| kahA jAtA hai ki zravaNabelagolA meM ukta vasadi hI eka aisA mandira hai, jo hoyasala-kalA kA eka avaziSTa tathA utkRSTa-kalA kA namUnA hai / isa vasadi kI vyavasthA ke laye candramaulI mantrI ne svayaM hI apane nareza se vizeSa prArthanA kara kammeyanahalli nAmaka kara-mukta grAma prApta kiyA thA aura use mandira kI vyavasthA ke liye sauMpa diyA taa| jinendra bhakta lakSmI devI jisa prakAra gaMga-narezoM ne jainadharma ke pracAra-prasAra meM bahuAyAmI kArya kiye, vidyApIThoM kI sthApanA kI, jainAcAryoM ko lekhana-kArya hetu suvadhiA-sampanna-Azraya-sthala nirmita karAe, usI prakAra unakI mahArAniyoM ne bhI unakA anukaraNa kara naye -naye Adarza prastuta kiye| aisI mahilAoM meM se senapAti gaMgarAja kI patnI lakSmI (12 vIM sadI) kA nAma vismRta nahIM kiyA jA sktaa| pati-parAyaNa hone ke sAtha-sAtha vaha jinavANI-rasika evaM -- 260 - -

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jinendra-bhakta bhI thii| use apane pati kI 'kAryanItivadhU' aura 'raNejayavadhU' kahA gayA hai| eka zilAlekha ke anusAra usane zravaNabelagola meM 'eraDukaTTe basadi' kA nirmANa karAyA thaa| vaha apanI sAsu-mAtA pocavve kI bar3I bhakta thii| ata: usakI smRti meM bhI usane ' kattale - basadi' evaM zAsana - basadi kA nirmANa karavAyA thaa| inake sAtha sAtha usane apane bhAI bUca evaM bahina demeti kI smRti meM tathA jainAcArya meghacandra kI smRti meM kaI zilAlekhoM ko utkIrNita karavAyA thaa| vaha jIvana bhara udAratApUrvaka caturvidha dAna detI rhii| yahI kAraNa hai ki san 1121 I. ke eka zilAlekha meM usakI yazogAthA meM eka prazna pUchA hai ki- 'kyA anya mahilAe~ apane cAturya, saundarya, jinabhakti evaM udAratA meM gaMgarAja kI dharmapatnI lakSmIyAmbike kI samAnatA kara sakatI hai? kaThora tapasvinI pAmbavve kaDUra-durga ke mukhya praveza-dvAra ke eka stambha para 10 vIM sadI kI eka rAjamahiSI pAmbavve kA ullekha huA hai, jisane apane rAjya-vaibhava ke sukha-bhogoM ko asAra mAnakara aryikA - vrata kI dIkSA dhAraNa kara lI thI aura lagAtAra 20 varSoM taka kaThora tapazcaryA kI thii| eka suprasiddha rAjakula meM janmI, palI tathA bar3I huI sukumAra evaM sundara nArI kA isa prakAra sarvasva tyAga aura kaThora tapasyA kA yaha eka anukaraNIya Adarza udAharaNa / vaha rAjA bhUta kI bar3I bahita thI / rAjakumArI hariyavvarasi rAjakumArI harivvarasi athavA hariyala devI ( 12vIM sadI) hoyasala vaMzI suprasiddha nareza viSNuvardhana kI rAjakumArI thI / hattUru nAmaka sthAna ke eka jinAlaya meM prApta san 1930 ke eka zilAlekha se jJAta hotA hai, ki usane apane zraddheya guru gaNDavimukta-siddhAntadeva kI preraNA se svadravya se hantiyUra nAmaka nagara meM eka vizAla bhavya kalApUrNa jinAlaya banavAyA thA jisakA agrakalaza maNi-ratnoM se jaTita thaa| usa jinAlaya kI vyavasthA ke liye usane aneka gA~va kara-mukta karAkara use dAna meM diye the / ukta zilAlekha meM ukta rAjakumAra kI vistRta prazasti meM usakI tulanA satI sItA, vAgdevI sarasvatI evaM rukmiNi Adi se kI gaI hai aura sAtha hI usameM use patiparAyaNA, caturvidhadAna dene meM tatpara, viduSi tathA Arhata- paramezvara ke caraNa-nakha- mayUkha se jisakA lalATa evaM palaka-yugma sadaiva suzobhita hote rahate haiM, aisA likhakara, usakI prazaMsA kI gaI hai| caTTala devI zAntara-rAjavaMza kI rAjakumArI caTTala devI (11vIM sadI) prArambha se hI jaina-dharma-parAyaNA thI / usakA vivAha pallava-nareza kADuveTTI ke sAtha sampanna huA thaa| usane zAntaroM kI rAjadhAnI pombuccapura meM aneka bhavya - jinAlayoM kA nirmANa karavAyA thaa| inake atirikta bhI usane bhaktoM tathA Ama janatA kI AvazyakatAoM ke anusAra aneka sthaloM para jainamandira, vasadiyoM, tAlAba tathA sAdhuoM ke liye guphAe~ banavAI aura AhAra, auSadhi, zikSA tathA AvAsa-dAnoM kI bhI vyavasthAe~ kI thiiN| isa kAraNa use jaina samAja meM zreSTha dAnazIla nAriyoM meM agrima sthAna prApta hai| -261

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rAjakumArI kundavve taMjaura ke 11vIM sadI ke pUrvArddha ke eka abhilekha ke anusAra rAjarAja cola kI putrI kuMdavye (10vIM sadI) bar3I hI dharmAtmA aura jinabhakta thii| vaha beMgI ke cAlukya-nareza-vimalAdi kI mahArAnI thii| isane tirumalai ke parvata-zikhara para eka 'kundabbe-jinAlaya' kA nirmANa karavAyA thA aura usakI vyavasthA hetu kaI grAmoM ko dAna meM die the| yaha bhadrapariNAmI mahilA apane antima samaya taka bha. mahAvIra ke sarvodayI jaina AdarzoM kI saMvAhikA banI rahI aura jIvana paryanta supAtroM ko udAratApUrvaka dAna detI rhiiN| mAlaladevI kuntala-deza ke vanavAsI-kSetra ke kadamba-zAsaka kIrtideva kI agramahiSI mAlala devI jinendra bhakta tathA garIboM ke prati atyanta dayAlu thii| eka zilAlekha se vidita hotA hai ki usane san 1077 I. meM kupyaTUra meM eka kalAtmaka bhavya pArzvanAtha-caityAlaya kA nirmANa karavAyA thA, jisakI pratiSThA padmandi siddhAntadeva ke karakamaloM dvArA sampanna huI thii| isa jinAlaya ke liye mAlala devI ne rAjya se eka sundara kara-mukta bhUkhaNDa bhI prApta kiyA thaa| catura prazAsikA jAkkiyavve jAkkiyavye (10vIM sadI) kI yaha vizeSatA hai ki vaha viduSI zrAvikA, sadgRhiNI tathA jinabhakta hone ke sAtha-sAtha eka kuzala prazAsikA bhI thii| 11vIM sadI ke AsapAsa ke utkIrNa eka zilAlekha (saM 1140) meM usakI yazogAthA kA varNana milatA hai| usake pati kA nAma nAgArjuna thaa| rASTrakUTa nareza kRSNa dvitIya (kannaradeva) usa parivAra se itane prasanna the ki jakkiyavve ke pati nAgArjuna kA akasmAt svargAvAsa ho jAne para, usane use nAgarakhaNDa nAmaka eka jaTila prakSetra kI prazAsikA ke rupa meM niyukta kara diyA thaa| jakkiyavve dUradRSTi-sampanna evaM kaSTa-sahiSNu kintu viduSI mahilA thii| usake bahuAyAmI vyaktitva kI sUcanA isI se milatI hai vaha eka ora to rAjya-prazAsana kA kuzalatApUrvaka saMcAlana karatI thI aura dUsarI ora parivAra evaM samAja kA saMcAlana bhii| usane jinendrabhakti vaza eka vizAla jaina pratimA kI sthApanA kara jinadharma kI patAkA phaharAI thii| isa prakAra prastuta nibandha meM maiMne karnATaka kI kucha jaina jAgRta yazasvinI zrAvikAoM kA saMkSipta paricaya prastuta kiyaa| jaina saMskRti evaM itihAsa ke kSetra meM unake bahuAyAmI saMracanAtmaka yogadAnoM ke kAraNa unhoMne jaina samAja ko jo gaurava pradAna kiyA, vaha pichale lagabhaga 1300 barSoM ke itihAsa kA eka svarNima adhyAya hai, jise kibhI bhI vistRta nahIM kiyA jA skegaa| AvazyakatA isa bAta kI hai yadi koI svAdhyAyazIlA viduSI prAdhyApikA isa dhairyasAdhya kSetra meM vizvavidyAlaya-stara kA vistRta zodha-kArya kare, to madhyakAlIna jaina mahilAoM ke aneka pracchanna aitihAsika kAryoM ko to prakAza-dAna milegA hI, bhAvI pIr3hI ko bhI apane jIvana ko sArthaka banAne hetu naha-naI preraNAe~ mila skeNgii| -0-0-0 -- 262 --

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32. cArudatta nATaka meM mAgadhI prAkRta kA vaiziSTya prAcInatama nATyakAra ke rUpa meM suvikhyAta bhAsa kI amara bAraha nATya-kRtiyA~ nAnA prAkRtoM ke prayoga ke kAraNa Aja bhI vidvAnoM meM zodha - sAmagrI prastuta karatI dRSTigocara hotI haiN| inameM prAkRta bhASA ke prAcInatama vibhinna svarUpa surakSita haiN| prastuta nibandha meM unhIM prAkRta bhASAoM meM se eka mAgadhI prAkRta ke prAcIna svarUpa ko udghATita karane kA alpa prayatna prastuta hai / cArudatta' tatkAlIna loka-pracalita eka prakaraNa hai, jisameM brAhmaNa se vyApArI aura dhanI se nirdhana bane sajjana cArudatta ke prati dhana-sampanna evaM rUpavatI eka gaNikA vasaMtasenA ke abhisAra kA hRdayagrAhI varNana nATya vidhA meM aMkita hai / viSaya-vastu kI dRSTi se yaha kRti kinhIM kAraNoM se apUrNa hai, tathApi mAgadhI prAkRta kI prAcInatama viziSTatA nirUpaNa meM pUrNata: sahayogI siddha hotI hai| bhAsa kA racanAkAla suspaSTa nahIM hai, tathApi nATya-zAstra meM bharatamuni praNIta mahArASTrI prabhAvita prAkRta kI cAra gAthAe~ bhAsa ko bharata se pUrvavartI siddha karatI haiN| bharatamuni kA bhI racanA - kAla nirvivAda nahIM hai| sarvaprathama bharata ne hI mAgadhI ko prAkRta bhASA ke eka da ke rUpa meM ullekha karate hue ise rAjAoM ke antaHpura meM rahane vAle sevaka Adi logoM kI bhASA kahA hai| ' bharata ke pazcAt vararuci ne ise magadha deza kI vyavahAra meM bolI jAnevAlI bhASA batAyA hai| vararuci se kucha pUrva vaiyAkaraNa caNDa ne ise mAgadhikA ullekhita kiyA hai aura isake lakSaNa meM 'ra' ke sthAna para 'la' aura 'sa' ke sthAna para 'za' kA honA batAyA hai| " vartamAna meM magaha kSetra ke nAma se prasiddha bihAra ke paTanA, gayA aura jahAnAbAda jile kI janabolI kA nAma hI hai, jo mAgadhI zabda kA hI vikasita rUpa hai| isakA kSetra vistAra sona nadI ke pUrva gayA se lekara paTanA taka hai| jJAtavya hai ki prAcIna magadha hI vartamAna meM magaha ke nAma se mAnA jAtA hai aura yahI kSetra buddha kA upadeza sthala bhI rahA hai| ataH asambhava nahIM ki buddha ke pravacana isI mAgadhI prAkRta meM uccarita hoN| isa sambandha meM nimna gAthA suprasiddha hai - - DaoN. sudarzana mizrA, jayapura sA mAgadhI mUlabhASA narAyAyAdikappikA / brahmAtto ca cassutAlASA saMbuddhA cApi bhAsare // / 1 laMkA meM 'pAli' ko hI mAgadhI kahate haiM / jainadharma ke caubIsaveM tIrthaMkara bhagavAna mahAvIra ke upadeza bhI prAkRta: meM nibaddha hai, jo mAgadhI prAkRta ke hI ardhAMza se nirmita mAnI jAtI hai| isa prakAra isa bhASA ke prAcIna svarUpa kA apanA eka alaga viziSTha sthAna hai / ardhamAgadhI mAgadhI prAkRta kA vistRta lakSaNa vyakta karane vAle upalabdha vaiyAkaraNoM meM caNDa ke paravartI vararuci sarvaprathama dRSTigata hote haiM, jinake prAkRta- prakAza nAmaka vyAkaraNa graMtha ke gyArahaveM pariccheda meM 17 sUtroM ke dvArA mAgadhI -263

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prAkRta kA svarUpa kathana kiyA gayA hai|' inake sUtroM dvArA nirUpita prAyaH sabhI vizeSatAe~ cArudattaM ke zakAra nAmaka pAtra kI saMvAda bhASA meM parilakSita hotI haiM, jo ise mAgadhI prAkRta pramANita karatI haiN| nidarzanArtha kucha pramukha vizeSatAe~ adholikhita haiM 1. 3. 4. 5. mUrdhanya 'Sa' aura dantya 'sa' ke sthAna para tAlavya 'za' hotA hai| " zakAra kI prAkRta meM bhI 'Sa' aura 'sa' ke sthAna para sarvatra 'za' kA prayoga hai| yathA - eSA ezA, (pR. 17 evaM 22) asi azi, (pR. 21), dAsI dAzI (pR. 30), vAsU vAzU (pR. 30), yAsI yAzI (pR. 16), mAsa mAza (pR. 18), sA zA (pR. 34) asmad zabda kA prathama puruSa ekavacana 'su' vibhakti meM 'hake, hage, ahake' - ye tIna rUpa hote haiM / " zakAra kI bhASA meM ahake zabda prayukta haiM / " Sa za, = sa za, = zakAra kI bhASA meM 'kR' hai / 2 yathA - kRta kaDe, (pR. 33), mRta maDe, (pR. 21) upalabdha haiN| ' aura ' mRG' dhAtu se vihita 'kta' pratyaya ke sthAna para 'Da' Adeza hotA mAgadhI kI eka mahattvapUrNa vizeSatA 'ra' ke sthAna para 'la' kA honA bhI hai| isakA ullekha yadyapi vararuci ne nahIM kiyA hai, tathApi, unake vyAkhyA uddharaNoM meM sarvatra isake darzana hote haiN| yathA - lAA rAjA, 14, pulize puruSaH, 15 zakAra kI prAkRta meM bhI isake prayoga sarvatra milate haiN| yathA - aGgALa (pR. 1 / 8), antaLA (pR. 33), kukkakuLehi (pR. 1/10), kozia (pR. 1/15) Adi / mAgadhI kI uparyukta vizeSatAe~ anya prAkRtoM meM nahIM pAyI jAtI haiN| ataH zakAra kI bhASA nirvivAdataH mAgadhI ke prAcIna rUpa kA avalokana karAtI hai| yaha prAkRta vararuci tathA nATya zAstrakAra bharata dvArA vizleSita prAkRta se bhI prAcIna hai evaM azoka ke zilAlekhoM se tulanAtmaka adhyayana kI apekSA rakhatI hai| kAra ne mAgadhI prAkRta ke kula 208 zabdoM kA prayoga kiyA hai", jinameM saMskRta meM bhI vyavahRta hone vAle 41 zabda haiN| uccAraNa bheda kI anadekhI kI jAya to 30 zabda aura bhI saMskRta meM prayukta pAye jAte haiN| dezI zabdoM kI saMkhyA kula 11 hai / vizuddha mAgadhI ke zeSa 126 zabdoM kI vyutpatti saMskRta se siddha ho jAtI hai| zabda-prayoga mAgadhI prAkRta ke prayukta zabdoM ko spaSTataH cAra bhAgoM: vibhakta kiyA jA sakatA ka) tatsama, kha) arddhatatsama ga) dezaja aura gha) tadbhava / inake kucha udAharaNa isa prakAra haiM - 264 -

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ka) tatsama Andha, aLaGkAra, aLaM, ahaM, A, Ama (Am), iMda, iva, kAma, kAmadeva, kiM, kuntI, kUja, keza, khaNDa, gaccha, gandha, gaLa, geha, ca, jIva, taM, tava, dhAva, paLLava, bandha, bala, bAla, bhaNa, bhAva, mama, mahanta, mA, mULakanda, me, yoga, baMca, vandya, vA, zava, zILa, hara, hi - ye kula 43 haiN| kha) arddhatatsama ___La ra= aGgALa aGgAra, antaLA antarA, AhaLAbhi AhArAmi, kukuLa kukkura, gambhILA gambhIrA, cALudatta cArudata, dALuNo dAruNa, duvALaM dvAraM, mALae mAraye, LAa rAja, zaGkaLa zaGkara, zaLILaM zarIraM, ziLaM ziraM, haLantI harantI, hazA hAsA / za Sa = ezA essaa| za sa = azi asi, dAzI dAsI, yAzi yAsi, mAzaM mAsaM, zA sA, vAzU vAsU / na = jaNa jana, jANa jAna, Na na, NAda nAda, NAma nAma - ye kula 05 / na+sa = NAzA naasaa| + + + La = na+ra = NUpuLA nUpurA / La = na = sa = duHzAzaLe duHshaasn| ga) dezaja aNuANa anuSThAna, avihA oha, ahake aham, kkhu khalu, khu khalu, jajjhai dahyate, tti iti, bhAAzi vibheSi, maLIazi mAryase, lacchA rathyA, aura zauvahA sarvathA - ye kula 11 hai| ga) tadbhava __a ca, aNuNae aNubandhaantI, andhaAlaM andhakAram, iaM iyaM, itthiA strI, izzaLaM IzvaraM, ettha atra, kaDe kRtam , kandAhi kranda, kaLiya kRtvA, kAmaidavve kAmayitavyaya, khoho kSobho, gaNiA gaNikA, gahnia gRhitvA, gaNha gRhANa, gade gata, gahIdA gRhItA, camma carma, ciTTha tiSTa, chindia chitvA, jaNamejae janamejaya, jahA yathA, jo ya, NaaNa nayana, NaTThA naSTA, NAe nArye, NADaya nATaka, NIabhANA nIyamAnA, tazza tasya, tIkkhe tIkSNa, tu tvAma, tumaM tvA, daridda darida, daLidda daridra, dAriA dArikA, dIzai dRzyate, dukkhaDe duSkara, dullahe durlabha, duvehi dvAbhyAma, de te, pakkakavitthaM pakkakapitthaM, pakkha pakSa, pakkhalantI praskhalantI, paccA -265

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pazcAt, baLakkAreNa balAtkAreNa, balia balita, bahumaNiadi bahumAnyate, bhaTTiputte bhArtRputra, bhaMzaDdavvA bhraMzayitavyA, maM mAM, majjha madhya, maDamaDADzzaM maDamaDAyiSyAbhi, maDe mRta, matta mAtra, mahuaraM madhukaraM, lava lapa, zALe zAla, Lozia roSiyitvA vaaNa vacana, baDuaM vaTukam, vaNNA varNA, vasaMca vasanta, zaNThANe saMsthAnakaH, zatzavAhavuttaM sArthavAhaputraM, zIdaM sItAm, zIzaM zIrSaM, zIzakavAlaM zIrSakapAlaM, haLaaM hRdayaM, ho bhU ityAdi - kula 126 hai / saMdhi - prayoga prAkRta meM saMdhi kI vyavasthA yadyapi vikalpa se hotI hai", tathApi prastuta prAkRta meM saMskRta kI taraha dIrgha, vRddhi aura hal saMdhi ke prayoga prApta hote haiN| yathA - dIrgha saMdhi - isameM hrasva yA dIrgha svara ke bAda hasva yA dIrgha svara Ate haiM, to donoM ke sthAna meM dIrgha svara ho jAtA hai| zakAra kI prAkRta se udAharaNa - kAmadeva + aNuANa kAmadevANuANa (pR.23), Na + Ae (Arya) = NAe (pR.18, 24) vRddha - = jaba a ke bAda e AtA hai, taba a ke sthAna para e ho jAtA hai| yathA paTTaNa + eze = paTTaNeze (1.12), A+ i = e = mahA+izzaLaM = mahezzaLaM (pR. 30 hal saMdhi prAkRta meM m ke sthAna para sarvatra -- anusvAra hotA hai, kintu prastuta prAkRta meM saMdhi kI sthiti banane para vaha mR hokara saMskRta kI bhA~ti svara pare rahane para svara ke sAtha mila jAtA hai| yathA - zIdaM + iva = zIdamiva (1.12), zaGkaLaM + izzaLaM = zaGkaLamizzaLaM (pR. 30) samAsa prayoga inake antargata saMskRta kI taraha hI avyayIbhAva, SaSThItatpuruSa, karmadhAraya aura samAhAra dvandva samAsa ke prayoga nimnaprakAra parilakSita haiM avyayIbhAva samAsa - avyaya aura saMjJA zabdoM kA mela / yathA - saNUpuLA (pR. 17) - sa tathA NUpuLA kA mela / SaSThItatparuSa samAsa - SaSThI vibhakti kA tyAga kara do zabdoM kA yoga / yathA - LAazza zALe = LAazALe (pR.-34), zatthavAhazza puttaM = zatthavAhaputtaM (pR. 34), bhaTTiNo putta = bhaTTiputte (pR. 22) Adi / karmadhAraya samAsa - vizeSaNa aura vizeSya kA saMyoga / yathA dAzIeputtIe (pR. 35), dAzIeputtIe (pR. 34) - 266

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samAhAra dvandva samAsa - padoM ke samAhAra kA bodha | yathA - mUlakandaM (pR.-35) mehaLaNAdahAzA (pR.17) avyaya upasarga zakAra ne kula 18 avyaya zabdoM kA prayoga kiyA hai, jinameM se 10 saMskRta meM bhI prayukta hote haiN| " saMskRta ke samAna nimnalikhita avyaya prastuta mAgadhI bhASA meM prayukta haiM - alaM, A, Ama (Am), iva, kiM, ca, mA, vA aura hi - ye kula 10 hai / vAkya meM sauSThava evaM camatkAra lAne ke lie athavA artha parivartana ke lie saMskRta ke samAna hI kucha prAkRta upasargoM ke prayoga upalabdha hote haiN| yathA - pra= pa- padhAvazi (pR.16) = pradhAvasi, anu-aNu - aNubandhaantI (pR. 17) = anubadhyamAnA, aNuNae (pR.20) aNunaya, AG = A - ahaLAmi (pR.1/12 ) AharAmi, kriyA vizeSaNa mUla ca kadaM ca samAhAro alaM (pR.1/21) alam kahiM (pR.35) kutra = kahA~, kkhu/khu (pR.20,23, 1.15) khalu = nizcaya / jahA (pR.1.10) yathA = jaise, paccA (pR. 30) pazcAt = pIche, anantara, zuve (pR. 34) zvaH = AnevAlA kala, meha ca NAda hAza ca samAhAro saMskRta ke samAna prastuta bhASA meM bhI kaI kriyA-vizeSaNoM kA prayoga huA hai| unake rUpa prAyaH parivartita haiM, kintu artha jyoM ke tyoM haiM / yathA - = basa, paryApta, ettha (pR.23) atra = yahA~, pakkhaLantI (pR.16) = praskhalantI, aNubandha (pR. 34 ) = anubandha, pari = pari - parittaazi (pR. 18) paritrAsyate, dura-du- duLLahe (pR.1/13) durlabhaH / - 267 - dukkhaDe (pR.33) duSkara = mA (pR.23) mA = havA (pR.21) athavA = pakSAntara, niSedha, duSkara,

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sarvanAma saMskRta bhASA meM prayukta hone vAle nimnalikhita sarvanAma prastuta mAgadhI prAkRta meM prAyaH jyoM ke tyoM prayukta haiM - ahaM (pR.34) asmad (prathamA kA ekavacana), mama (pR.34) asmad (SaSThI kA ekavacana) me (pR.1.8,1.10) asmad (caturthI aura SaSThI kA ekavacana), tava (pR.21,34) yusmad (SaSThI kA ekavacana)zA (pR.34) sA, tat (strIliMga ) kA ekavacana) vibhakti evaM dhAtu rUpa prAkRta meM prAyaH saMskRta ke samAna hI kArakoM kI vyayasthA hai, kintu saMskRta aura prAkRta kI vibhaktiyoM meM antara pAyA jAtA hai| prastuta mAgadhI prAkRta meM isakI apanI alaga vibhaktiyA~ hai yathA prathamA ekavacana meM visarga ke sthAna para e, SaSThI ekavacana meM sya ke sthAna para zza aadi| sambodhana meM saMskRta ke samAna hI prathamA vibhakti kA prayoga huA hai| yathA - vazaMcaseNiA aadi| vAstavika bAta yaha hai ki prAkRta meM vibhaktiyoM ke vyavahAra kA koI vizeSa niyama nahIM haiN| kahIM dvitIyA aura tRtIyA ke sthAna meM saptamI kahIM paMcamI ke sthAna meM tRtIyA tathA saptamI aura badale dvitIyA vibhaktiyA~ vyavahRta hotI haiN| dhAtu rUpoM meM bhI saMskRta ke samAna prAkRta ke pratyaya joDe jAte haiN| dhAtu rUpoM meM saMskaita ke samAna mAtra vartamAna kAla ke u.pu. ekavacana meM Ami pratyaya kA prayoga parilakSita hotA hai| ___ yathA - AhaLAmi AharAmi, jANAmi jAnAmi aadi| anya dhAtu pratyaya isake apane haiN| yathA - i, hi, dA, zi, de aadi| ___ vastutaH I.pU. meM yadi kisI prAkRta bhASA kI spaSTa upasthita dRSTigocara hotI hai, to vaha hai - mAgadhI praakRt| azoka ke zilAlekhoM meM isa bhASA kA sarvAdhika prayoga hai, jo isake rAja-bhASA hone ke sUcaka bhI haiN| azoka ke pUrva bhagavAn mahAvIra aura mahAtmA buddha kI vANI bhI isa bhASA se prabhAvita rahI hai| magadha sAmrAjya kI dIrghakAlIna prAcIna paramparA aura rAja-bhASA ke rUpa meM isakI pratiSThA se sUcita hotA hai ki magadha sAmrAjya kI taraha hI yaha mAgadhI bhASA bhI purAtana kAla meM jana bolI ke rUpa meM vyavahRta hotI rahI hai| bharata ke nATyazAstra se bhI vidita hotA hai ki unake samaya meM mAgadhI rAjamahaloM meM paricaroM ke madhya vyavahRta bhASA thii| sabhI prAkRtoM meM sarvaprathama mAgadhI ko hI zilAlekhI sAhitya ke rUpa meM sAhityika bhASA hone kA gaurava prApta hai| isakI sudIrgha paramparA magadha-sAmrAjya kI sthApanA se lekara madhyakAlIna nATya-graMthoM ke praNayana taka dRSTigocara hotI hai| 'cArudattaM ' kI mAgadhI prAkRta meM pAli ke samAna ' ra ' aura 'La' donoM dhvaniyA~ vidyamAna haiM tathA isameM bhI pAli kI taraha vikalpa se 'Na' ke sthAna para 'La ' prayukta hai| ye viziSTatAe~ isa bhASA kI prAcInatA ke dyotaka haiN| mAgadhI kI prAcInatama paramparA meM 'cArudattaM ' kI mAgadhI kA svarUpa bhale sarvaprAcIna na ho, prAcInatara avazya hai aura yahI isakI pemukha viziStA bhI hai| -268

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1. 2. 3. 4. 5. 7. 8. 9. 10. 11. 12. 13. 14. saMdarbha cArudattaM - bhAsapraNIta, sampAdaka - gaNapati zAstrI, trivendrama, 1922 I. nATayazAkhaM bharatamuni praNIta, sampAdaka DaoN. pArasanAtha dvivedI, sampUrNAnanda saMskRta vizvavidyAlaya, vaaraannsii| mAnadhItu narendrANAntaha purasamAzraya 17.51 bharatamuni praNItaM nATyazAstram / - mAnadhAnAM bhASA mAgadhI 11.1 vararuci prAkRta prakAza caukhambhA saMskRta saMsthAna, vaaraannsii| mAgadhikAyAM ra-sayorla zo, prAkRtalakSaNa, kavi caNDa, saM. munirAja darzana vijaya, prakAzaka -cAritra smAraka granthamAlA vIramagAma (gujarAta), vikrama saMvat - 1992, 3/41 kaMcanAyana vyAkaraNa, tArA pablikezansa, vArANasI, san 1966 I., bhUmikA pRSTha- 33 prAkRta bhASA aura sAhitya kA AlocanAtmaka itihAsa, tArA buka ejensI, vArANasI, 1988, pRSTha- 32 prAkRta prakAza, vAruci, caukhambhA saMskRta saMsthAna, vaaraannsii| SasoH zaH 1 vahI 3 - - 11.3 asmadaH sau hake hage - ahako, vahI 11.9 3 cAvataM, bhAsa kavikRta, saM. gaNapati zAstrI trivendram, pRSTha-33 kuJamRGgamAM ktasya DaH, uparyukta prAkRta prakAza - 11.15 abhinava prAkRta vyAkaraNa, DaoN. nemicandra zAstrI, tArA priMTiMga varksa, vArANasI, 1963, pRSTha 400 uparyukta prAkRta prakAza sUtra - 11.10 kI vyAkhyA / -0-0-0 -269

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33. prAkRta kathA vAGGya meM nihita vaizvika saMdeza mAnava jIvana ke manoraMjana jJAnavardhana ke lie kathA - sAhitya sarvottama sarasa va sarala sAdhana hai| sAhitya meM kathAnaka kI vidhA atyanta purAtana hai / sambhavataH mAnava sabhyatA ke vikAsa ke sAtha - sAtha hI yaha vidhA bhI vikasita hotI calI gii| kathA - sAhitya kA prAcInatama rUpa loka kathAoM meM prApta hotA hai| ina kathAoM meM kutUhala evaM jijJAsA kA bhAva isa prakAra vidyAmAna hotA hai ki zrotA cAhe jJAnI ho yA ajJAnI, bAla ho yA vRddha, vaha inheM sunatA calA jAtA hai| prAkRta kathA-sAhitya kA udgamasthala prAkRta Agama- sAhitya mAnA jA sakatA hai| prAkRta Agama-sAhitya meM dhArmika AcAra, AdhyAtmika tattva-cintana tathA nIti evaM kartavya kA praNayana kathAoM ke mAdhyama se hI kiyA gayA hai| darzana kI gUr3ha se gUr3ha samasyAoM ko sulajhAne tathA apane vicAroM va anubhUtiyoM ko saralatama rUpa se janasAdhAraNa taka pahu~cAne ke lie tIrthaMkaroM, gaNadharoM evaM anya jainAcAryo dvArA kathAoM kA hI avalambana liyA gayA hai| jJAtAdharmakathA, upAsakadazAMga, vipAkasUtra, uttarAdhyayana Adi grantha AgamakAlIna prAkRta kathA graMthoM ke mahattvapUrNa udAharaNa haiN| - DaoN. rajanIza zuklA, naI dillI prAkRta kathAoM kI sAmagrI bhI prAyaH jana-jIvana para AdhArita hai, ataH inameM lokatattva pracura parimANa meM upasthita haiN| jahA~ kahIM bhI vidvAnoM ko lokakathA dikhAI dI, unhoMne use apanAkara sAhityika rUpa pradAna kara diyA aura isI zailI ne prAkRta kathA-sAhitya ke vikAsa ko eka naI dizA pradAna kii| paizAcI prAkRta meM likhI guNADhya kI bRhatkathA loka kathAoM kA saMgraha graMtha mAnA gayA hai| yadyapi yaha kathA graMtha Aja upalabdha nahIM hai, kintu isake AdhAra para paravartIkAla meM aneka prAkRta kathAe~ likhI gaI haiN| kath (vAkyaprabandhe)' dhAtu se aG evaM TAp hokara kathA zabda banatA hai| kathyate iti kathA, jo kahI jAtI hai, vaha kathA hai| bhAmaha' ke anusAra saMskRti, prAkRta evaM apabhraMza kI usa racanA ko kathA kahate haiM, jisameM na to vaktra aparavaktra chanda hoM aura na ucchvaas| isameM kisI anya vyakti ke dvArA nAyaka ke caritra kA varNana hotA hai| AcAryoM ne kathA ko kavi - kalpita evaM AkhyAyikA ko aitihAsika vRtta pradhAna kahA hai| AkhyAyikA' kI paribhASA sAhityadarpaNakAra ne dI hai| Y amara-kozakAra' ne 'AkhyAyikopalabdhArthaprabandhakalpanA kathA' kahA hai| kavirAja vizvanAtha' ne kathA ' ko isa prakAra pAribhASita kiyA hai. kathAyAM sarasaM vastu gadyaireva vinirmitam / kacidatra bhavedAryA kacid vaktrApavaktrake / / -270

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jaina vAGmaya meM kathA ke svarUpa para vistRta prakAza DAlA gayA hai| nyAyadIpikA ke anusAra aneka pravaktAoM ke vicAra kA jo viSaya yA padArtha hai, unake vAkya sandarbha kA nAma kathA hai - nAnA pravaktRtve sati tadvicAravastuviSayA vAkyasaMpadalabdhikathA ' bhAratIya kathA sAhitya ke garbha meM do uddezya nihita rahate haiM - 1) upadeza tathA 2) mnorNjn| isI AdhAra para prApta kathA sAhitya ko bhAgoM meM vibhAjita kiyA jA sakatA hai - 1. nIti kathA (Didactic Fable) 2. loka kathA (Popular tale) 1. nIti kathA - ___ nArAyaNa paNDita ne nIti kathAoM kA prayojana batAte huye kahA hai ki nIti kathAoM meM bAlakoM ko kathAoM ke mAdhyama se nIti kI zikSA dI jAtI hai - 'kathAcchalena bAlAnAM nItistadiha kthyte|' isase spaSTa hai ki nIti kathA graMthoM meM nIti evaM dharma ke viSayoM kA pratipAdana rahatA hai| inameM nIti kA ullaMghana na karanA, Apatti-vipatti meM dhairya na choDakara sAhasa se kArya karanA, mitra kI rakSA karanA Adi kA sarala evaM zIghrAnukaraNIya citraNa hotA hai| nIti kathAoM ke pAtra manuSya jAti ke na hokara tiryak jAti ke pazu-pakSI Adi hote haiN| ye pazu-pakSI hI mAnavavat apanA sabhI kArya vyApAra karate haiN| inameM mitratA-zatrutA, rAga-dveSa, sandhi-vigraha Adi manuSya ke samAna hI dekhe jAte haiN| inheM apane hita-ahita, mAna-apamAna kA pUrNa dhyAna rahatA hai| isa nIti graMthoM kI varNya kathA gadyAtmaka hotI hai tathA jahA~ kahIM nIti athavA upadeza denA hotA hai, vahA~ para padyoM kA prayoga hotA hai| ye padya pUrvavartI nItigraMthoM se uddhRta kiye jAte haiN| ina nIti vacanoM se pUrvakathana kI puSTi kI jAtI hai| 2. loka kathA - loka kathAyeM bhI nItikathAoM ke adhikAMza lakSaNoM se hI yukta hotI haiN| donoM meM jo vaibhinya hai, vaha nimnalikhita rUpa meM dRSTavya hai _____i) nIti kathAyeM mukhyataH upadezAtmaka hotI haiM, jabaki loka kathAyeM mnorNjnaatmk| nIti kathAoM kI yojanA meM kavi kA pradhAna lakSya manuSya mAtra ko naitika upadeza evaM zikSA dene kA hotA hai, jisase vaha apane vyAvahArika jIvana meM sadA saphala raheM, kahIM bhI vaha nirAzA athavA apamAna kA anubhava na kareM, parantu lokakathAoM ke citraNa meM kavi kA dhyAna unheM adhika AkarSaka evaM sarasa banAne kA rahatA hai| ___ii) nIti kathAoM ke pAtra tiryak jAti meM pazu-pakSI-zera, bandara cUhA, totA, mainA, kauA Adi hote haiM, parantu lokakathAoM ke pAtra adhikatara manuSya jAti ke hI hote haiM, kabhI-kabhI-ekAgra sthala para pAtra rUpa meM pazupakSI dRSTigocara ho jAtA hai| -- 271 -

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prAkRta vAGmaya meM kathA sAhitya kA udaya IsA kI lagabhaga cauthI zatAbdI se prArambha hokara solahavIM - satrahavIM zatAbdI taka calatA hai| isameM kathA, upakathA, aMtarkathA, AkhyAna, dRSTAnta, vRttAnta aura carita Adi kathA ke aneka rUpa dikhAI dete haiN| vAkkauzala, praznottara, uttara-pratyuttara, prahelikA, samasyApUrti, subhASita, sUkti, kahAvata, gIta, pragIta, carcarI, gAthA, chanda Adi kA yatheSTa upayoga kiyA gayA hai| ___ ardhamAgadhI-prAkRta sAhitya meM vipula kathA-sAhitya kI saMracanA kI gaI hai, jisameM AcAra-mImAMsA, dharma-nirUpaNa Adi kI pradhAnatA hai| gUDha se gUDha vicAroM evaM gahana anubhUtiyoM ko saralatama rUpa meM jana-mAnasa taka pahu~cAne ke lie tIrthaMkara, gaNadhara evaM AcAryoM ne kathAoM kA AdhAra grahaNa kiyA hai| prAkRta sAhitya meM kathA kI aneka vidhAe~ upalabdha hotI hai| jaise vArtA, AkhyAna, kathAnaka, AkhyAyikA, dRSTAnta, upakhyAna aadi| __ jainAcAryoM ne kathA ke aneka bhedoM kI carcA kI hai| jo anyatra anupalabdha hai| hemacandrAcArya ke kAvyAnuzAsana aura udyo tanasUri kI kuvalayamAlA kathA meM prAkRta kathA rUpoM kI vistRta carcA huI hai| jaina kathA-sAhitya ke bIja arddhamAgadhI meM nibaddha Agama sAhitya meM upalabdha hote hai , jinakA vikAsa niryukta, bhASya, cUrNi aura TIkA graMthoM meM kAlacakra se sampanna huaa| -- dazavaikAlika sUtra'' meM prastuta vargIkaraNa ke anusAra ina kathAoM ke tIna bheda prApta hote haiM - 1) akathA, 2) satkathA aura 3) vikathA jina kathAoM se mithyAtva-bhAvanA ke uddIpanapUrNa varNanoM ke kAraNa mohamaya mithyAdRSTi utpanna hotI hai, aisI kathAoM ko akathA kahA gayA hai| jina kathAoM meM jJAna ke sAdhanabhUta tapa, saMyama, dAna evaM zIla jaise sad guNoM kI prazasti nibaddha kI jAtI hai, unheM satkathA kahA jAtA hai| mUla Agama-sAhitya meM kathAoM ke mukhyataH tIna rUpa milate haiN| arthakathA, dharmakathA aura ' kAmakathA'2 / AcArya haribhadra ne mizrakathA ko jor3akara inake cAra prakAroM kI udabhAvanA kii| kintu zailI kI dRSTi se kathAoM ke pA~ca bheda upalabdha hote haiN| sakala-kathA, ullAsa-kathA, khaNDa - kathA, ullApa-kathA, parihAsa-kathA aura saMkIrNa -kthaa| prAkRta kathAsAhitya kA Adisrota AgamasAhitya hI hai| tIrthaMkara mahAvIra ke kAla se prArambha huI prAkRta kathA sAhitya kI dhArA Aja taka anavarata pravAhita ho rahI hai| yugoM-yugoM ke isa antarAla meM isane sirpha apanA rUpa parivartita kiyA hai| AgamakAlIna kathAoM kI utpatti katipaya upamAnoM, sarUpakoM aura pratIkoM se huI hai| DaoN.e.ena.upAdhye ne AgamakAlIna kathAoM kI pravRttiyoM ke vizleSaNa meM batAyA hai ki "Arambha meM jo mAtra upamAe~ thIM unako bAda meM vyApaka rUpa dene aura dhArmika matAvalambiyoM ke lAbhArtha unase upadeza grahaNa karane ke nimitta unheM kathAtmaka rUpa pradAna kiyA gayA hai|' prAcIna Agama graMtha AcArAMga meM kucha aise rUpaka aura pratIka milate haiM, jinake AdhAra para paravartI graMthoM meM kathAoM kA vikAsa huaa| AcArAMga sUtra ke chaThe adhyayana ke prathama sUtra meM kahA gayA hai ki "se bemi jahArvA kumme harae viNiviTThacittepacchannapalAse ummaggaM se no lahaI bhajaMgA iva.......na labhaMti mukkhaM / ' arthAt eka kachue -- 272 --

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ke udAharaNa dvArA, jise zaivAla ke bIca meM rahane vAle eka chidra se jyotsanA saundarya dikhalAI par3A thA, jaba vaha punaH apane sAthiyoM ko lAkara usa manohara dRzya ko dikhAne lagA, to vaha chidra hI nahIM milA, isa prakAra tyAgamArga meM satata sAvadhAnI rakhane kA saMketa isa aMza meM batAyA gayA hai| prAkRta sAhitya kA itihAsa" graMtha meM prAkRta AgamoM meM Agata kathAoM kI saMkSipta paricaya isa prakAra diyA gayA hai ki sUtrakRtAMga ke dvitIya khaNDa ke prathama adhyAya meM puNDarIka kA dRSTAnta kathA-sAhitya ke vikAsa kA advitIya namUnA hai| kathAnaka saMkalana kI dRSTi se jJAtAdharmakathA sarvazreSTha udAharaNa hai| jJAtAdharmakathA meM vibhinna jJAta arthAt udAharaNoM tathA dharmakathAoM ke mAdhyama se jaina dharma ke tattva-darzana ko samajhAyA gayA hai| prathama zrutaskandha meM 19 adhyayana haiM, jinameM nyAya, nIti Adi ke sAmAnya niyamoM ko kathAoM dvArA samajhAne kA prayatna kiyA gayA hai| ina kathAoM meM karu NA kA mahattva, AhAra kA uddezya, saMyama jIvana kI kaThora sAdhanA, zubha pariNAma, samyak zraddhA kA mahattva, anAsakti, mahAvratoM kI unnati, vairAgya, kapaTa kA pariNAma, nidAna Adi sabhI viSayoM para prakAza DAlA gayA hai| ye sabhI kathAe~ mUla prAkRta Agamo kI vaizvika saMdeza kA samarthana karatI huI pratIta hotI hai| antakRddazAMgasUtra Agama ke kathAnaka bhautikatA para AdhyAtmika vijaya kA saMdeza pradAna karate haiN| kathAnakoM meM sarvatra tapa kI utkRSTa sAdhanA dikhalAI detI hai| AkhyAnaka sAhitya kI dRSTi se uttarAdhyayana sUtra mahattvapUrNa Agama graMtha hai| isa Agama graMtha kI gaNanA mUla sUtroM ke antargata kI jAtI hai| isa kathAgraMtha ko tIrthaMkara mahAvIra kI antima dezanA ke rUpa meM svIkAra kiyA gayA hai| uttarAdhyayana meM chattIsa adhyayana haiM, jinameM dharma, darzana, jJAna, cAritra Adi kI nirmala dhArAe~ pravAhita haiN| ye AkhyAnaka jahA~ eka ora dharmatattva kA pratipAdana karate haiM,vahIM dUsarI ora tatkAlIna sAmAjika evaM sAMskRtika paramparAoM ko bhI prakAzita karate haiN| arddhamAgadhI Agama sAhitya ke atirikta upalabdha zaurasenI sAhitya meM bhI aneka kathAnakoM ke ullekha haiN| isa sampUrNa sAhitya meM karmasiddhAnta evaM darzana nirUpaNa meM kathAnakoM ke bIja yatra-tatra prApta ho hI jAte haiN| AcArya kundakunda ke bhAvapAhuDa meM bAhubalI madhupiMga, vaziSThamuni, zivabhUti, bAhu, dvIpAyana, zivakumAra, bhavyasena Adi bhAvapUrNa kathAnakoM ke ullekha prApta hote haiN| tiloyapaNNatti meM 63 zalAkApuruSoM ke sambandha meM mUlabhUta prAmANika sAmagrI prApta hotI hai| arddhamAgadhI aura zaurasenI prAkRta meM nibaddha Agama-sAhitya meM kathAe~ sUtrazailI meM upalabdha hotI haiM aura ina Agama-kathAoM kA pUrNa vikAsa niyukti, bhASya, cUrNi aura TIkA-sAhitya meM huA hai| uparyukta vivecana se spaSTa hai ki AgamayugIna kathAoM kA lakSya zuddha manoraMjana kI apekSA mAnava kA naitika AdhyAtmika kalyANa hI rahA hai| ye samasta kathAe~ dharma-darzana sambandhI kisI siddhAnta ko dRSTAnta ke rUpa meM prastuta karatI haiN| inakI prakRti upadezAtmaka hai| isIlie kathAnakoM kA vAtAvaraNa evaM pariveza dhArmika sthAnoM, vyaktiyoM evaM kathopakathana se otaprota hai| niHsandeha AgamayugIna kathAe~ apane samaya ke dhArmika niyamoM kA vivecana karane meM sakSama haiN| 1- 273 -

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Agama sAhitya meM upalabdha kathAe~ dhArmika vAtAvaraNa ke sAtha-sAtha varNanoM ke kAraNa kahIM kahIM bojhila pratIta hotI haiM, kintu AgamoM para likhe gaye vyAkhyA - sAhitya meM kathA-sAhitya aura bhI puSpita va pallavita huaa| niyuktiyoM va cUrNiyoM meM aitihAsika, dhArmika, laukika Adi kaI prakAra kI kathAe~ upalabdha haiM / sUtrakRtAMgacUrNi meM ArdrakakumAra, arthalobhI vaNika Adi ke sundara kathAnaka haiN| AvazyakacUrNi meM varNita kathAe~ upadezoM ke sAtha-sAtha loka jIvana kI abhivyakti bhI karatI hai| isa graMtha kI kathAe~ sarasa va manoraMjaka haiN| inameM se kaI kathAe~ Aja bhI loka pracalita haiN| dazavaikAlikacUrNi meM ' IrSyA mata karo', ' apanA-apanA puruSArtha' aura 'gIdar3a kI rAjanIti 'sundara loka kathAe~ haiN| vyavahArabhASya va bRhatkalpabhASya meM prAkRta kI upadezaprada va nItikathAe~ bahulatA se prApta hotI haiN| Agama TIkA sAhitya kathAoM kA bhaMDAra hI hai| AcArya nemicandrasUrI dvArA uttarAdhyayana kI sukhabodhA TIkA meM lagabhaga eka sau paccIsa kathAe~ varNita haiN| ina kathAoM meM romAMsa, manoraMjana, nIti, upadeza, hAsya-vyaMgya Adi samasta tattvoM kA samAveza paryApta mAtrA meM huA hai| ye kathAe~ na kevala upadezAtmaka haiM, apitu manoraMjaka evaM camatkArI bhI haiN| bhAratIya loka kathA sAhitya ke udgama evaM vikAsa-yAtrA ko jAnane kI dRSTi se prAkRta kathA sAhitya mahattvapUrNa sAdhana hai| prAkRta kathA-sAhitya bhASA-vijJAna evaM jaina tattvadarzana tathA siddhAntoM ko jAnane kA mAdhyama hI nahIM apitu bhArata ke gauravapUrNa itihAsa va saMskRti ke nirmANa meM isa sAhitya kI mahattvapUrNa dena hai| ina kathAoM jaina dharma ke gUr3ha evaM kliSTa siddhAntoM kA praNayana prAyaH jainAcAryoM ne kathAoM ke mAdhyama se hI kiyA hai| kathAoM kA avalambana lekara tapa, saMyama, anekAnta, lezyA, karmasiddhAnta, nidAna prabhRti jaina tattvadarzana ke viSayoM kA pratipAdana ina kathAoM meM milatA hai| ina kathAoM meM dhArmika mUlyoM ke sAtha-sAtha prAkRta kathAkRtiyoM meM sahiSNutA, dhairya, puruSArtha, sAhasa jaise sAmAjika mUlyoM ko bhI bar3I hI sundaratA se ukerA gayA hai| prAkRta kathA sAhitya mAnavatA kA poSaka sAhitya hai| isa sAhitya meM manuSya bhava ko hI pradhAnatA dI gaI hai| dharma, sAdhanA, jAti, varNa Adi bhedaka tattvoM ko gauNa rakhakara ahiMsA, saMyama, tapa Adi AdhyAtmika mUlyoM ke AdhAra para mAnava kI uccatA yA adhamatA kA mUlyAMkana kiyA gayA hai| AtmAnubhUti evaM samatva ke siddhAnta ke AdhAra para dAna, sevA, paropakAra, vinaya, sadAcAra jaise mAnavIya mUlya isa sAhitya meM udghATika hue haiN| loka kalyANakArI tattvoM se prerita hone ke kAraNa prAkRta Agamika kathAnakoM meM subhASitoM evaM lokoktiyoM kA bhI prayoga huA hai| kathAoM meM prayukta vAkcAturya, saMvAda, buddhi - camatkAra, helikA, prahelikA, samasyApUrti, sUktiyA~, kahAvatoM Adi mAdhyama se aneka mUlyoM kA pratipAdana kiyA gayA hai / sAdhAraNataH kathA-sAhitya kA uddezya jJAnavarddhana athavA manoraMjana karanA hotA hai, kintu prAkRta kathA sAhitya ke sambandha meM yaha bAta kahI jA sakatI hai ki isa paramparA meM likhe gae adhikAMza graMthoM kA uddezya manoraMjana 274 -

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kI apekSA kI kisI uccatara sAmAjika, naitika athavA AdhyAtmika mUlya kI pratiSThA karanA rahA hai / prAyaH kathA cAhe vaha choTI ho yA bar3I usakA mukhya uddezya azubha karmoM ke kaTu pariNAma batAkara mAnava ko tyAga, sadAcAra athavA vratAcAra kI satpreraNA pradAna karanA hai| isa prakAra Agama kAla meM pratIkoM, rUpakoM aura upamAnoM ke AdhAra para AvirbhUta prAkRta kathAoM kA Agamottara kAla meM paryApta vikAsa huaa| TIkAyuga kI kathAoM kI viziSTa pravRtti nItiparakatA hai| Agama sAhitya kI kathAe~ prAyaH dhArmikatA evaM sAmpradAyakitA se abhibhUta thii| lekina TIkA yugIna kathAoM meM manoraMjana ke sAtha-sAtha sAmpradAyikatA se pare nItiparakatA vidyAmAna hai| bhagavAn mahAvIra ke dvArA upadezita lipibaddha prAkRta vAGmaya meM jana-jana ko sarala, sAtvika, zAlIna, abhimAnarahita, pradarzanarahita sahaja jIvana jIne kI preraNA, duHkhita, pIr3ita tathA saMkaTa grasta prANiyoM, vRddhoM, rogiyoM, abhAva pIr3itoM ko sahayoga karane kA unakI sevA karane kA sandeza pradAna kiyA gayA hai| vizva mAnava ko vyakti, jAti, samAja tathA rASTra ityAdi ke paripArzva meM panapane vAlI saMkIrNatAoM se U~ce uThakara vizvamaitrI, aikya, samatA evaM sauhArdapUrNa jIvana jIne kI zikSA dI, dUsaroM ke svatattvoM, adhikAroM kA haraNa karane, dambha, mAyA, chala, kapaTa, dhokhA, jAlasAjI, asatya, vaimanasya, dveSa Adi durguNoM se bacane kisI ke bhI sAtha zatrubhAva na rakhane tathA kisI se bhI ghRNA na karane kA Agraha kiyA / prAkRta sAhitya meM mAnava jIvana kI mahattA aura upAdeyatA ke bAre meM kahA gayA hai ki mAnava rUpI isa amUlya dharohara ko mUrkhatAvaza vyartha nahIM kho denA caahie| isI ke sAtha jIvana kI kSaNabhaMguratA batAte hue kahA gayA hai ki manuSya mAtra ko kSaNa bhara bhI pramAda na karane kA kartavya-bodha diyaa| isake alAvA ahiMsA, saMyama, kSamA, vinaya, samatA bhAva, sahiSNutA aura sadAcAra rUpI vaizvika mUlyoM ke mAdhyama se samajhAyA gayA hai| ahiMsA samasta prANiyoM ke prati saMyamabhAva hI ahiMsA hai, ahiMsA niuNaM diTThA savvabhUesa saMjamo / 15 mana, vacana aura kAya se saMyamI vyakti sva-para kA rakSaka tathA mAnavIya guNoM kA khAna hotA hai| zIla, saMyamAdi guNoM se pUrNa vyakti hI satpuruSa hai| jisakA citta malIna va pApoM se dUSita rahatA hai, vaha ahiMsA kA pAlana karane vAlA nahIM ho sktaa| jisa prakAra ghisanA, tapAnA aura ragar3anA ina cAra upAyoM se svarNa kI parIkSA kI jAtI hai, usI prakAra zruta, zIla, tapa aura dayA rUpa guNoM ke dvArA dharma evaM vyakti kI parIkSA kI jAtI hai| saMyama saMjama sIla sauccu ta sUri hi guru soI / dAha chedaka saMghAyakasu uttama kaMcaNa hoI // / 16 jIvana kA sarvAMgINa vikAsa karanA saMyama kA parama uddezya rahatA hai / sUtrakRtAMga meM isa uddezya ko eka rUpaka ke mAdhyama se batAyA gayA hai| kahA gayA hai ki jisa prakAra kachuA nirbhaya sthAna para nirbhIka hokara calatA-phiratA hai, kintu bhaya vimukta hone para punaH aMga-pratyaMga phailAkara -275

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calanA-phiranA prArambha kara detA hai, usI prakAra saMyamI vyakti apane sAdhanAmArga para bar3I satarkatApUrvaka calatA hai| saMyama kI virAdhanA kA bhaya upasthita ho jAne para vaha paMcendriyoM va mana ko AtmajJAna meM hI gopana kara letA hai| saMyamI vyakti sadaiva isa bAta kA prayatna karatA hai ki dUsare ke prati vaha aisA vyavahAra kare jo svayaM ko anukUla lagatA ho| tadartha use maitrI, pramoda, kAruNya aura mAdhyamastha bhAvanA kA poSaka honA caahie| sabhI sukhI aura niroga rahe, kisI kI kisI bhI prakAra kA kaSTa na ho, aisA prayatna kre| sarvepi sukhinaH santu santu sarve nirAmayAH sarve bhadrANi pazyantu mA kazcid duHkhamApnuyAt / mA karSit ko'pi pApAni mA ca bhUt ko'pi duHkhitH| mucyatAM jagadapyeSAmati maitrI nigadyate // 8 viziSTa jJAnI aura tapasviyoM ke zama, dama, dhairya, gAmbhIrya Adi guNoM meM pakSapAta karanA arthAt vinaya, vandanA, stuti Adi Antarika harSa vyakta karanA pramoda bhAvanA hai| isa bhAvanA kA mUla sAdhanA vinaya hai| jisa prakAra mUla ke binA skandha, zAkhAyeM, prazAkhAyeM, patte, puSpa, phala Adi nahIM ho sakate, usI prakAra vinaya ke binA dharma va pramoda bhAvanA meM sthairya nahIM raha sktaa|20 kSamA kArtikenAnuprekSA meM deva, manuSya aura tiryacoM dvArA ghora va bhayAnaka upasarga pahu~cAye jAne para bhI jo krodha se tapta nahIM hotA, usako nirmala kSamAdharma sAdhita hotA hai| yathA - koheNa jo Na tappadi, sura-gara-tiriehi kIramANe vi / uvasagge vi raudde, tassa khamA NimmalA hodi // 1 mUlAcAra22 meM kahA gayA hai ki rAga athavA dveSa ke vaza maineM koI akRtajJatA kI ho athavA pramAda ke kAraNa kisI ko anucita kahA ho to maiM una saba se kSamA cAhatA hU~ / yathA - rAgeNa va doseNa va jaM me akadaNhuyaM pamAdeNa / je me kiMcivi bhaNio tamahaM sammaM khamAvemi / / samabhAva ___bhAvapAhuDa kI gAthA 107 meM kahA gayA hai ki sajjana puruSa, durjanoM ke niSThura aura kaThora vacanarUpI capeToM ko bhI samabhAvapUrvaka sahana karate haiN| yathA dujaNa-vayaNacaDakaM, Nijhura-kaDuyaM sahati sppurisaa| sUtrakRtAMga sUtra meM kahA gayA hai ki jo samagra vizva ko jo samabhAva se dekhatA hai, vaha na kisI kA priya karatA hai aura na kisI kA apriy| arthAt samadarzI apane-parAye kI bhedabuddhi se pare hotA hai| 1-276 --

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vinaya __ upadezamAlA meM vinaya ko jina-zAsana kA mUla kahA gayA hai| saMyama tathA tapa se vinIta bananA caahiye| jo vinaya se rahita hai, usakA kaisA dharma aura kaisA tapa ? isI taraha dharma kA mUla vinaya hai aura mokSa usakA antima lakSya hai| vinaya ke dvArA hI manuSya bar3I jaldI zAstrajJAna kIrti sampAdana karatA hai| anta meM niHzreyas bhI isI ke dvArA prApta hotA hai| sahiSNutA dazavaikAlika sUtra meM sahiSNutA ke sambandha meM kahA gayA hai ki kSudhA, pyAsa va duHzaiyyA, viSamabhUmi-yutta vAsasthAna, sardI, garmI, arati, bhaya-ina saba kaSTo ko mumukSu avyathita citta se sahana kre| samabhAva se sahana kiye gaye daihika kaSTa mahAphala ke hetu hote haiN| yathA - khuhaM pivAsaM dussejaM, sIuNhaM, arai mayaM / ahiyAse avvahio,deha-dukkhaM mahAphalaM / / dvAdasAnuprekSA meM sahiSNutA ke sambandha meM kahA gayA hai ki vratI puruSa upasarga tathA tIvra pariSaha ko RNamocana-karja cukAne kI taraha mAnatA hai| vaha jAnatA hai ki ye to mere dvArA pUrvajanma meM saMcita kiye gaye karmoM ke hI phala hai| riNamoyaNaM va maNNai, jo uvasaggaM parIsahaM tivvaM / pAvaphalaM meM edaM, mayA vi jaM saMcidaM puvvaM // sadAcAra uttarAdhyayana sUtra meM sadAcAra ke bAre meM kahA gayA hai ki sadA zAnta rahe, vAcAla na ho, jJAnI puruSoM ke samIpa rahakara arthayukta AtmArtha-sAdhaka padoM ko siikhe| nirarthaka bAtoM ko chodd'e| vivekI puruSa anuzAsana se kupita na ho, zAnti-kSamAzIlatA dhAraNa kareM tathA kSudra janoM kI saMgati na kare, unake sAtha hAsya aura krIr3A kA varjana kreN| jo vyavahAra dharma se anumodita hai aura jJAnI puruSoM ne jisakA sadA AcaraNa kiyA hai, usa vyavahAra kA AcaraNa karane vAlA puruSa kabhI bhI gardA-nindA ko prApta nahIM hotaa| yathA - dhammajjiyaM ca vavahAraM, buddhehAyariyaM sayA / tamAyarato vavahAraM, gaharaM nAbhigacchai // -uttarAdhyayana sUtra1/42 ina vaizvika mUlyoM se patA calatA hai ki vyakti, samAja aura rASTra ke abhyutthAna ke lie ye sabhI mUlya Avazyaka haiN| sabhI mUlyoM kA paraspara ekAtmaka kalyANa-mArga se Abaddha rheN| usameM sauhArdra, AtmotthAna, sthAyI zAMti, sukha aura samRddhi ke pavitra sAdhanoM kA upayoga hotA rhe| isa prakAra ke vicAra prAcIna Agama sAhitya meM 1- 277 -

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bahulatA se prApta hote haiN| Aja ke yuga meM jaba hama dhArmika, AdhyAtmika aura naitika dRSTi se bahuta kucha khote jA rahe haiN| purAnI virAsata ko bacAyeM rakhane ke lie prAcIna prAkRta vAGmaya meM varNita vibhinna mUlyoM ko apanAkara vyakti, samAja, rASTra aura vizva ke kalyANa kI kAmanA kI jA sakatI hai| saMdarbha 1. saMskRta-hindI koza, vI.esa.ApTe, pRSTha-242 bhAmaha, kAvyAlaMkAra sUtra. 1/28 vizvanAtha, sAhityadarpaNa 6/334-5 amarakoSa 1/5/6 vizvanAtha sAhityadarpaNa. 6/311, evaM saMskRta-hindI kotra, vI.esa.ApTe, pRSTha-139 jaina nyAyadIpikA hitopadeza, prastAvanA saMskRta sAhitya kA sarala itihAsa. pRSTha-126 zAstrI nemicandra, prAkRta sAhitya kA AlocanAtmaka itihAsa. pRSTha-444 kuvalayamAlA kathA, prastAvanA. DaoN. e.ena.upAdhye, pRSTha-12 dazavakAlika sUtra, gAthA-188 (ka) dazabaikAlika sUtra vRtti gAthA-208-210 (kha) pro.DaoN.prema sumana jaina, prAkRta kathA sAhitya parizIlana, jayapura, 1995 AcArAMga sUtra, 6/1, pRSTha-437 DaoN.jagadIzacandra jaina, prAkRta sAhitya kA itihAsa, pRSTha-309-312 dazabaikAlika sUtra, sUtra-6/9 bhAvapAhuDa, gAthA-143 TIkA jahA kumme sa aMgAI sae dehe samAhare / evaM pAvAI mehAvI ajjhappeNa smaahaare|| sUtrakRtAMga sUtra-1/8/16 yazastilakacampU kAvya, uttarArdha-10 yogazAstra-4/11 evaM dhammassa viNao mUlaM paramo se mukkho| - dazabaikAlika -9/2/2 kArtikeyAnuprekSA gAthA-364 mUlAcAra gAthA 58 sUtrakRtAMga sUtra-1/10/7 dazabaikAlika sUtra-8/27 dvAdazAnuprekSA gAthA-110 uttarAdhyayana sUtra -1/8 va 1/9 -0-0-0 -278

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34. AkhyAnakamaNikozavRtti meM nihita vaizvika mUlya AkhyAnakamaNikoza prAkRta kathAoM kA saMgraha graMtha hai| dharma ke vibhinna aMgoM ko upadiSTa karane AcArya nemicandrasUri ne isa graMtha meM aneka laghukathAoM kA saMkalana kiyA hai| kathAkAra nemicandrasUri kI anya racanAoM ke sAhityika sAkSyoM ke AdhAra para vidvAnoM dvArA isakA racanAkAla vikrama saMvat 1129 se 1139 ke madhya nizcita kiyA gayA hai| AkhyAnakamaNikozamUla meM kula 52 padya haiM, jo gAthA chanda meM haiN| graMtha kI viSayavastu 41 adhikAroM meM vibhakta hai, jinameM 946 AkhyAnakoM kA nirUpaNa kiyA gayA hai| pratyeka adhikAra meM viSaya pratipAdya ke sAtha-sAtha AkhyAnakoM ke nAyaka - nAyikA ke nAma kI sUcanA mAtra dI gaI hai| prathama caturvidhabuddhivarNanAdhikAra kI yaha gAthA dRSTavya hai, jahA~ lekhaka ne autpattikI, vainayikI, karmajA evaM pAriNAmikI buddhikauzala ko prakaTa karane ke lie nAyakoM ke rUpa meM bharata, naimittika, mRSaka aura abhayakumAra ke dRSTAntoM kA kathana kiyA hai - uppattiya veNaiyA kammaya pariNAmiyA cauha buddhI / i-nimittiya karisaga- abhayAInAyao neyA // bharaha -1 DaoN. tArA DAgA, jayapura AkhyAnakamaNikoza mUla gAthA - 3 graMthakAra kI isa paddhati se yaha sUcita hotA hai ki ye kathAe~ anya kathAgraMthoM meM aura karNopakarNa paryAptamAtrA meM prasiddha thiiN| koza ke racayitA ne kevala una-una kathAoM ko vividha viSayoM ke sAtha sambaddha karake una kathAoM kA viSaya kI dRSTi se vargIkaraNa mAtra kiyA hai| graMthakAra kA yaha bhI prayojana ho sakatA hai ki graMtha choTA hone se smRti ke Upara vizeSa bhAra na par3egA aura viSaya kI dRSTi se tatkathAoM kA vargIkaraNa zramaNoM ko yAda rakhanA sarala ho skegaa| AcArya AmradevasUri ne IsvI san 1934 meM mUlaAkhyAnakamaNikoza para bRhat TIkA kI racanA kI / AcArya nemicandrasUri dvArA racita gAthA pramANa mUlaAkhyAnakamaNikoza para 14 hajAra zlokapramANa vRtti kI racanA kara AcArya AmradevasUri ne prAkRta - kathA - koza paramparA meM eka navIna adhyAya kA sUtrapAta kiyA hai| unakI ekamAtra racanA AkhyAnakamaNikozavRtti unake prakANDa pANDitya kA paricAyaka hai / unake ina satprayatnoM ne mulaAkhyAnakamaNikoza ko bhI prAkRta kathA - sAhitya-paramparA meM sadA ke lie amara banA diyaa| unake isa mahA graMtha ke lie prAkRta kathA sAhitya - paramparA unakI sadaiva RNI rahegI / savRttiAkhyAnakamaNikoza meM 41 adhikAra haiM, jinameM 146 AkhyAnakoM kA nirUpaNa hai / parantu, vRttikAra AmadevasUri ne punarAvRtti vAle AkhyAnakoM kI sUcanA mAtra dete hue zeSa 127 AkhyAnakoM kA hI vistAra se pratipAdana kiyA hai| AkhyAnakamaNikozavRtti bhASA va sAhitya kI dRSTi se atyanta sundara va sarasa racanA hai| -279

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prastuta kRti meM saMskRta, prAkRta evaM apabhraMza kI triveNI pravAhita hai| graMtha ke adhikAMza AkhyAnaka prAkRta bhASA meM nibaddha haiN| kintu, kucha AkhyAnakoM meM saMskRta evaM apabhraMza bhASA kA bhI prayoga huA hai / viSaya vividhatA kI dRSTi se isa koza kI kathAe~ atyanta mahattvapUrNa haiM / kathAoM meM dharmatattva ke sAtha-sAtha lokatattva bhI vidyamAna haiN| dRSTAntoM mAdhyama se jIvana va jagat se sambandhita sabhI tathyoM para prakAza DAlA gayA hai| AkhyAnakamaNikozavRtti evaM vaizvika mUlya sAdhAraNataH kathA sAhitya kA uddezya jJAnavarddhana athavA manoraMjana karanA hotA hai, kintu prAkRta kA sAhitya ke sambandha meM yaha bAta dAve ke sAtha kahI jA sakatI hai ki isa paramparA meM likhe gae adhikAMza graMthoM kA uddezya manoraMjana ke uccatara sAmAjika, naitika athavA AdhyAtmika mUlya kI pratiSThA karanA bhI rahA hai| prAyaH pratyeka kathA cAhe vaha choTI ho yA bar3I usakA mukhya uddezya azubha karmoM ke kaTu pariNAma batAkara mAnava ko ahiMsA, tyAga, sadAcAra athavA vratAcAra kI satpreraNA pradAna karanA hai| isI paramparA ke pratinidhi graMtha savRtti - AkhyAnakamaNikoza ke kathAnaka bhI sArvabhaumika evaM lokakalyANakArI mUlyoM kA AgAra haiN| prastuta graMtha meM vibhinna kathAnakoM ke mAdhyama se aise dhArmika, naitika evaM AdhyAtmika mUlyoM kI abhivyaMjanA kI gaI hai, jo manuSya ko parama zAnti ke mArga para calane ke lie prerita karate haiN| cU~ki isa kathAkoza ke vRttikAra AcArya AmradevasUri svayaM jainAcArya the| unhoMne ahiMsA, satya, saMyama, tyAga, tapa tathA vairAgya kI agni meM apane jIvana ko tapAkara AtmA ko Alokita kiyA thaa| yahI kAraNa hai ki unake dvArA praNIta savRtti AkhyAnamaNikoza ke kathAnaka nirarthakatA evaM uddezyahInatA ke doSa se mukta vibhinna vaizvika mUlyoM kI pratiSThApanA karane vAle haiN| ahiMsA, samyak zraddhA Adi dhArmika mUlyoM ke sAtha-sAtha isa graMtha ke kathAnakoM meM dAna, svAdhyAya, vinaya, dhairya, sahiSNutA jaise sAmAjika mUlyoM ko bhI bar3I sundaratA se ukerA gayA hai| vastutaH savRttiAkhyAnakamaNikoza mAnavatA kA poSaka kathA graMtha hai| varNa evaM jAti prathA ke saMkucita dAyare ko tor3akara isa graMtha kI aneka kathAe~ mAnavatAvAda kI pratiSThA karane vAlI haiN| cittasaMbhUta, nandISeNa, harikezI Adi AkhyAnakoM meM U~ca-nIca ke bhedabhAva ko asvIkAra kara vizva stara para mAnavatA kA saMdeza prasArita huA hai| ye kathAnaka jAti, varNa Adi bhedaka tattvoM ko gauNa kara ahiMsA, saMyama, tapa Adi guNoM ke AdhAra para mAnava kI uccatA kA mUlyAMkana prastuta karate haiN| yahA~ kucha lokakalyANakArI vaizvika mUlyoM kA vivecana apekSita hai| ahiMsA Aja vizva meM sarvatra avyavasthA evaM azAnti phailI huI hai| AtaMkavAda, naksalavAda, pUMjIvAda, sAmrAjyavAda Adi kI bar3hatI pravRtti pUre vizva ko AtaMkita kie hue hai| sampUrNa mAnavatA vinAza ke kagAra para khar3I mAnoM kisI masIhA kI pratikSA kara rahI hai| yaha masIhA ahiMsA ke atirikta kauna ho sakatA hai ? ahiMsA hI vizva zAnti kA mukhya AdhAra hai| prAkRta kathA sAhitya kA jitanA gaharA sambandha ahiMsA se hai utanA sambhavataH kisI anya viSaya 280 -

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se nahIM / Agama kAla se hI isa sAhitya meM bhinna-bhinna kathAnakoM evaM dRSTAntoM ke mAdhyama se ahiMsA kA saMdeza prasArita hotA rahA hai| savRttiAkhyAnakamaNikoza ke kathAnaka bhI isI paramparA ke poSaka haiN| prastuta graMtha ke 26 veM jIvadayA guNarvaNanAdhikAra meM jIvadayA ko kalyANakArI batAte hue kahA hai ki - jIvoM para dayA karane vAlA isa loka aura paraloka meM sukhI hotA hai / yathA : thevA vi hu jIvadayA jiyANa kallAsaMpayaM kuNai / maNakappiyaM payacchai ahavA taNuyA vi kappalayA // AkhyAnakamaNikozavRtti, AkhyAnaka - 83, gAthA - 284 isa adhikAra meM zrAvakaputra, guNamatI meghakumAra evaM dAmannaka dhIvara ke kathAnaka varNita haiN| ye sabhI AkhyAnaka jIvana utthAna kI paryApta sAmagrI sameTe hue haiN| meghakumAra ke kathAnaka dvArA pazujIvana meM karuNA ke mahattva ko darzAyA gayA hai| meruprabha hAthI ne atyanta vedanA sahana karate hue prANa tyAga die the| phalasvarUpa manuSyabhava kA bandha kara usane meghakumAra ke rUpa meM janma liyA / dAmannaka ke kathAnaka dvArA niyama pAlana meM dRr3hatA ke mahattva ke sAtha-sAtha jIvadayA ko dIrgha AyuSya kA batAyA gayA hai - dIhAuyAi heU jIvadayA, mUlagA. 35 / dAmannaka pUrvabhava meM dhIvara thA / eka muni ke upadeza se prabhAvita hokara usane jIvadayA kA saMkalpa grahaNa kara liyaa| anya machuAre use samajhAte haiM ki isa prakAra kA niyama hamArA dharma nahIM hai, dhIvaravRtti hamArI jIvikA hai| kintu ahiMsA ke prati niSThA ke kAraNa dAmannaka machalI pakar3ane ko taiyAra nahIM hotA hai| taba anya machuAroM dvArA usase jabaradastI pAnI meM jAla phiMkavAyA jAtA hai lekina vaha hara bAra jAla ko DhIlA chor3a detA hai aura machaliyA~ jAla se nikala jAtI haiN| jIvadayA ke isa niyama ke nirvAha se arjita puNya ke kAraNa dAmannaka aneka bAra mRtyu ke cuMgala se baca jAtA hai| samyak zraddhA jIvana meM zraddhA kA bar3A mahattva hai / samyak siddhAntoM ke prati zraddhA hI samyagjJAna va zreSTha AcaraNa kA AdhAra hotI hai / usI se AdhyAtmika unnati sambhava hai| chaThe samyaktvavarNanAdhikAra meM mahAvIra kI paramabhakta zrAvikA sulasA kA kathAnaka varNita hai| sulasA mahAvIra kI parama bhakta zrAvikA thI / arihantadeva tathA nigraMtha muniyoM ke atirikta anya kisI para usakI zraddhA nahIM thI ( 6 . 25.39 ) / svayaM mahAvIra ne usakI zraddhA evaM bhakti kI bhUrI-bhUrI prazaMsA kI thii| mahAvIra ke mukha se sulasA kI prazaMsA sunakara ambaDa parivrAjaka ne brahmA, viSNu, maheza Adi ke rUpa banAkara usake samyaktva ko DigAne kA prayAsa kiyA / kintu vaha sulasA kI samyak zraddhA ko vicalita na kara skaa| apane dRr3ha samyaktva ke kAraNa hI sulasA ne tIrthaMkara nAma gotra kA bandha kiyA / prastuta kathAnaka jana sAmAnya ko yahI saMdeza detA hai ki jIvana meM satya tathA iSTa ke prati saccI zraddhA manuSya ko vyartha kI bhaTakana se rokatI hai| 281

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zIla 'zIla sugati kA AdhAra hai| devatA bhI use namana karate haiM, jo sadAcArayukta hotA hai' (muu.gaa.8)| tIsare zIlamahAtmyavarNanAdhikAra meM damayantI, sItA, rohiNI evaM subhadrA ke ujvala jIvana caritra ke mAdhyama se zIlaparAyaNa nAriyoM ke udAttarUpa ko pradarzita kiyA gayA hai| isa adhikAra ke kathAnakoM kI nAyikAoM ke jIvana meM zIla-parIkSA kI aneka prasaMga Ate haiN| kintu ve dhairya va sAhasa se unakA sAmanA karate hue apane zIlavrata para aTala rahatI haiN| ina nAriyoM ke satitva kA teja, kaSToM meM sAhasa va dhairyaparAyaNatA Aja bhI durbala hRdayoM meM preraNA jagAne meM sakSama hai| dAna ___ karuNA, tyAga athavA udAratA kI bhAvanA se prerita hokara apanI saMgraha kI huI vastu meM se kucha aMza mukta mana se prasannatApUrvaka kisI anya vyakti ko denA dAna kahalAtA hai| dAna karanA dharma sAdhanA kA mukhya aMga hai| dharma se cAra bhedoM meM dAna, zIla, tapa aura bhAvanA meM dAna kA prathama sthAna hai (muu.gaa.4)| jainadharma meM dAna kI bar3I mahimA hai| dAna dene vAle ko mokSa kA adhikArI batAyA hai (m.gaa.5)| dazavakAlika (9.2.23) meM kahA gayA hai, jo saMvibhAga evama saMvitaraNa nahIM karatA usakI mukti nahIM hotI hai| dAna kA jitanA AdhyAtmika mahatva hai utanA hI sAmAjika mahatva bhI hai| sAmAjika jIvana meM dAna abhAvagraMtha vyaktiyoM ke prati naitika dAyitva bhI hai| savRttiAkhyAnakamaNikoza ke dvitIya dAnasvarUpavarNanAdhikAra meM dAna kathAoM ke mAdhyama se hiMsAdi pApoM meM pravRtta tathA vibhinna parigrahoM se yukta vyaktiyoM ko dAna meM pravRtta hone kA saMdeza diyA gayA hai| isa adhikAra meM dhana, kRtapuNyaka, droNa, zAlibhadra, cakrAcara, candanAryA, mUladeva tathA nAgazrI ke AkhyAnaka nirUpita haiN| manojJa evaM supAtra dAna ko isa bhava tathA parabhava meM kalyANakArI batAyA gayA hai(muu.gaa.6)| prAyaH kathAnaka ke pAtra pUrvabhava meM muniyoM ko AhArAdi dAna dene ke kAraNa AgAmI bhava meM apAra Rddhi evaM vaibhava prApta karate hue citrita kiye gaye haiN| zAlibhadra kA AkhyAnaka jaina sAhitya kA prasiddha AkhyAnaka rahA hai| 'zAlibhadra kI Rddhi' jaina sAhitya va saMskRti meM eka kahAvata ke rUpa meM prasiddha hai| pUrvabhava meM atyanta nirdhana avasthA meM bhI mAtA dvArA banAI gaI khIra muni ko de dI gii| isa satkArya aura supAtradAna ke puNyapratApa se unhoMne atyanta samRddhizAlI zreSThakula meM zAlibhadra ke rUpa meM janma grahaNa kiyaa| candanA kI kathA jaina paramparA meM nArI kI gaurava gAthA kA pratinidhitva karatI hai| tele ke pAraNe meM munidAna ke zubha bhAva se arjita puNya ke kAraNa durbhAgya vasumatI ne sAdhvI pramukhA candanAryA kA darjA prApta kiyaa| usake netRtva meM aneka zrAvikAoM ne saMyama grahaNa kara apanA AtmakalyANa kiyaa| isa adhikAra meM jahA~ taka ora supAtradAna kI mahimA kA gAna huA hai vahIM amanojJa dAna ke duSpariNAmoM ko nAgazrI ke kathAnaka dvArA vyakta kiyA gayA hai (muu.gaa.7)| nAgazrI lokanindA ke bhaya se viSailA amanojJa AhAra muni ko de detI hai| azubhapariNAmavaza vartamAna tathA AgAmI bhavoM meM vaha atyanta duHkha ko prApta karatI hai| vastutaH dAna adhikAra kI kathAoM dvArA eka ora sampanna varga ko tRSNA se prApta hone vAle duHkhoM se mukti kA mArga dikhAyA gayA hai| vahIM dUsarI ora nirdhanajana ke A~sUoM ko poMchane kA kArya bhI kiyA gayA hai| -282 -

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svAdhyAya svAdhyAya jJAna kI kuMjI hai| vaha jIvana meM cAroM ora se ghaTita hone vAlI ghaTanAoM ke prati vyakti ko sajaga rahane kI preraNA detA hai| svAdhyAya pApakarmoM kA nAza karane vAlA hone ke kAraNa AdhyAtmika dRSTi se to mahattvapUrNa hotA hI hai sAtha hI laukika jIvana meM bhI jJAnArjana kA hetu hotA hai| savRttiAkhyAnakamaNikoza ke 14veM svAdhyAyaphalavarNanAdhikAra meM yava sAdhu ke kathAnaka dvArA jIvana meM svAdhyAya kI upayogitA ko pratipAdita kiyA gayA hai| sIkhA huA kabhI vyartha nahIM jaataa| kabhI-kabhI to anajAne meM sIkhA gayA jJAna bhI jIvana rakSaka siddha hotA hai (14.44.gaa.44)| yava sAdhu ke kathAnaka meM batAyA hai ki jAne-anajAne meM sIkhI gaI gAthAoM ke kAraNa yava rAjA jIvana meM aneka kaSToM se baca jAtA hai| isa kathAnaka meM svAdhyAya ko jIvana rakSaka sAmagrI ke rUpa meM prastuta kara jJAnArjana kara preraNA dI gaI hai| jJAnArjana dharmatattva ke zravaNa se bhI sambhava hai| 22veM jinAgamazravaNaphalAdhikAra meM nirUpita cilAtIputra tathA rauhiNeyaka cora ke AkhyAnakoM dvArA racanAkAra ne isa mahattvapUrNa jIvana saMdeza ko samajhAyA hai ki dharmatattva kA zravaNa mAtra corI va taskara jaisA nIca kRtya karane vAle prANiyoM ke jIvana meM parivartana lAkara use samyakjIvaNa kI ora agrasarita kara sakatA hai| ataH jaba bhI avasara mile dharma-tattva kA zravaNa avazya karanA caahie| vinaya ' vinaya se hI kArya kI siddhi hotI hai| vinaya sampAdana se devatA bhI prasanna hote haiM ' (muu.gaa.22)| saMvRttiAkhyAnakamaNikoza ke 17veM vinayavarNanAdhikAra meM citrapriya yakSa evaM vanavAsI yakSa ke kathAnakoM dvArA vinaya kI mahattA ko sthApita kiyA gayA hai| citrapriya yakSa ke kathAnaka meM batAyA gayA hai ki sAketa nagarI kA yakSa prativarSa citrita kiyA jAtA thaa| citra pUrA hone ke pazcAt yakSa usa citrakAra ko mAra DAlatA thaa| kintu, kauzAmbI ke eka citrakAra ne vinaya guNa ke pradarzana se na kevala yakSa ke hAthoM apanA jIvana bacAyA apitu usa yakSa se yaha varadAna bhI prApta kara liyA ki 'jisa kisI vyakti ke eka aMga ko bhI vaha dekha legA usakA pratirUpa citra (proTreTa) banAne meM vaha sakSama hogA ' / guru ke vacana evaM manobhAvoM ko yathArtha rUpa meM grahaNa karanA aura usake anukUla AcaraNa karanA bhI vinaya guNa ke antargata AtA hai / AkhyAnakamaNikoza ke 333 ekAkIvihAradoSavarNanAdhikAra meM kulabAlamuni ke kathAnaka dvArA bhI yahI saMdeza diyA gayA hai ki guru ke kathana ke pIche chipI mAnasikatA va unake anubhava kI upekSA nahIM karanI caahie| guru kI AjJA ke viruddha kArya karane vAlA vyakti aksara apane patha se vicalita ho jAtA hai| guru kI AjJA kI avamAnanA kara kulabAlamuni ekAnta meM ghora tapasyA karane cale jAte haiM, kintu strI-parISaha se parAjita hokara ghora patana ke mArga para cala par3ate haiN| Aja zikSA ke kSetra meM bar3hatI arAjakatA ke sAtha-sAtha chAtroM meM anuzAsanahInatA, utkRGkhalatA aura maryAdAhInatA kA jo vyavahAra dekhane ko mila rahA hai usase mukti pAne hetu ye kathAnaka mUlyavAna preraNA dete haiN| -- 283 - -

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dhairya sukha evaM duHkha jIvana ke abhinna aMga haiN| jo vyakti anukUla evaM pratikUla donoM hI paristhitiyoM meM zAnta rahakara samabhAva dhAraNa karatA hai vaha nizcita hI apane lakSya ko prApta kara letA hai / 36veM sampadvipadAsatpuruSasamatAvarNanAdhikAra meM varNita naravikramakumAra ke kathAnaka dvArA yahI saMdeza diyA gayA hai ki vipatti Ane para satpuruSa dhairya ko nahIM chor3ate tathA samRddhi meM garvarahita hote haiN| rAjakumAra naravikrama ke jIvana meM aneka vipattiyA~ AtI hai unheM saparivAra nagara tyAgakara eka mAlAkAra ke ghara rahakara mAlA kA vyavasAya karanA par3atA hai / vahA~ vaha putra Adi se bhI bichur3a jAte haiM / kintu ve apanA dhairya nahIM khote haiN| samaya badalatA hai| naravikrama kumAra punaH rAjA banate haiM aura patnI tathA putroM se unakA milana hotA hai| vastutaH jIvana meM Ane vAle kaSToM ko rAga-dveSa se rahita hokara sahana karane vAlA vyakti kabhI samyak patha se vicalita nahIM hotA hai / AkhyAnakamaNikoza meM kahA hai ki karmavaza prApta duHkhoM ko dhairyavAna vyakti sAmya bhAva se sahana karate haiM (mU.gA. 53) / isa sandarbha meM pArzvaprabhu tIrthaMkara mahAvIra tathA gajasukumArala ke dRSTAnta varNita haiN| isa mahAna AtmAoM ne jIvana meM Ane vAle duHsahya kaSToM ko samabhAvapUrvaka sahana kara apane lakSya ko prApta kiyA / vartamAna yuga meM kaSToM se ghabarAkara unmArga para calane vAle vyakti ko ke lie ye kathAnaka nizcita hI sanmArga para calane kI satpreraNA pradAna karate haiN| ajAti evaM avarNavAda U~ca-nIca, jAti, dharma Adi ke AdhAra para vyakti kA vibhAjana jaina paramparA mAnya nahIM rahA hai| uttarAdhyayana (25.19) meM spaSTa rUpa se kahA hai - karma se hI vyakti brAhmaNa, kSatriya, vaizya evaM zUdra hotA hai, janma se nahIM / AcArya AmradevasUri ne savRtti AkhyAnakamaNikoza ke aneka kathAnakoM meM dhArmika ekAdhikAra ke khilApha jabaradasta krAnti se svara udghATita kara jAtivAda evaM varNavAda kA khaNDana kiyA hai| niHsandeha vyApaka vikAsa kI dRSTi se AkhyAnakamaNikozavRtti ke kathAnaka jAtigata viSamatA ko tyAgakara jIvagata samAnatA kI dizA meM calane kA udbodhana dete haiN| karakaNDu ke kathAnaka meM zubha lakSaNoM ke AdhAra para cANDAla putra ko rAjA banAne kI ghaTanA tatkAlINa samAja meM jAtiprathA ke viruddha sAmAjika jAgRti kA sazakta pramANa hai| isI prakAra nandISeNa, harikezIbala, cittasambhUta Adi ke kathAnaka lokakalyANa evaM vizvabandhutva kI dRSTi se atyanta mahatvapUrNa haiN| " ina kathAnakoM meM vyaktigata pUjA ke sthAna para guNapUjA tathA janmajAta uccatA ke sthAna para karmagata zreSThatA ko mahatva diyA gayA hai| isa sabhI kathAnakoM kA yahI vaizvika saMdeza hai ki tapa, saMyama, tyAga athavA cAritra kisI jAti yA kulavizeSa kI bapautI nahIM hai / apitu hIna jAti meM utpanna vyakti bhI jJAna, darzana, cAritra evaM tapa ke puruSArtha se vizva meM bana jAte haiN| nandISeNa kA kathAnaka lokaparaka sudhAravAda va zuddhatAvAda kI lau prajvalita kara vizvamAnavatA ko eka naI dizA pradAna karatA hai / 32veM dharmaviSayakulaprAdhAnyanivAraka adhikAra meM varNita harikezI kI kathA vizeSa rUpa se avalokanIya hai| harikezI kA sampUrNa AkhyAnaka jAti ke sthAna para satkarma kI mahattA ko sthApita karane jagatapUjya -284

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bAlA hai| isa AkhyAnaka meM mAnava kI zreSThatA kA mUlyAMkana ahiMsA, tapa, tyAga jaisI sadavRttiyoM ke AdhAra para kiyA gayA hai| jAti se cANDAla hone para bhI harikezI apane satkarmo ke kAraNa brAhmaNoM meM pUjya ho jAte haiN| Aja ke vaimanasyapUrNa vAtAvaraNa meM jAti evaM sampradAya sahiSNutA atyanta abhipreta hai| cU~ki savRttiAkhyAnakamaNikoza ke kathAnaka jAtigata AdhAra para mAnavatA ke vikAsa ko nindanIya mAnakara sAmAjika samAnatA evaM mAnavaklyANa kA mArga prazasta karate haiN| ataH vartamAna paripekSya meM inakA mahattva aura bhI bar3ha jAtA hai| anta meM niSkarSa rUpa meM yahI kahA jA sakatA hai ki AkhyAnakamaNikozavRtti meM kucha aise dizA nirdezaka vaizvika mUlya ujAgara hue haiM, jo mAnava kalyANa ke sAtha-sAtha prANImAtra ko jIvana kI surakSA pradAna karate haiN| samasta naitika cintana para Aja bhI inakA prabhAva parilakSita hotA hai| prAkRtagraMthoM meM se aise vaizvika mUlyoM ko khojakara Adhunika sandarbha meM unakI prAsaMgikatA ko prastuta karanA zodha kA mukhya lakSya hai| vartamAna paripekSya meM i mUlyoM kI pratisthApanA se vyakti kI mUlyAtmaka cetanA to vikasita hogI hI, samAja meM naitikatA ke phUla bhI khileMte / 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. saMdarbha AkhyAnakamaNikoza, racanAkAra-AcArya nemicandrasUri vRttikAra AcArya AmradevasUri sampAdaka muni puNyavijayajI, prAkRta graMtha pariSad, vArANasI, 1962 I. uttarAdhyayanasUtra, sampAdaka- madhukara muni, Agama prakAzana samiti, byAvara kuvalayamAlAkahA kA sAMskRtika adhyayana, pro. prema sumana jaina, vaizAlI, 1975 jainakathAmAlA, bhAga-1 se 56, sampAdaka- mudhukara muni, hajArImala smRti prakAzana, byAvara jaina kathAe~, devendramuni zAstrI, tAraka guru graMthAlaya, udayapura jaina kahAniyA~ (mAsika patrikA), aMka 112-113 jaina prakAzana, pAlI jaina kathA sAhitya vividha rUpoM meM, DaoN jagadIzacandra jaina, prAkRta bhAratI akAdamI, jayapura jaina saMskRti koza, pro. bhAgacandra bhAskara, kalA prakAzana, vArANasI jaina saMskRta mahAkAvyoM meM bhAratIya samAja, DaoN. mohanacandra, isTarna buka liMkarsa, billI tIrthaMkara mahAvIra evaM unakI AcArya paramparA, bhAga 1 se 4, DaoN. nemicanda zAstrI, A. zAntisAgara chANI graMthamAlA, 1992 do hajAra barasa purAnI kahAniyA~, DaoN. jagadIzacandra jaina, bhAratIya jJAnapITha, 1977 divAkara citra kathAe~, bhAga-1 se 111, divAkara prakAzana, AgarA, bhAratI akAdamI, jayapura nandIsUtra, sampAdaka muni madhukara, Agama prakAzana samiti, byAvara yazastilaka kA sAMskRtika adhyayana, DaoN. gokulacanda jaina, vArANasI, 1967 haribhadra prAkRta kathA sAhitya kA AlocanAtmaka parizIlana, DaoN. nemicandra zAstrI, prAkRta jainazAstra aura ahiMsA zodha saMsthAna, vaizAlI, bihAra, 1965 AkhyAnakamaNikoza, mUla, A. 117, 112 111, 84 Adi / -0-0-0 -285

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knndd vibhaag (as as) 35. praakRt kthaa saahityd visheesstegllu ' Special Features of Prakrit Narrative Literature - ddaa. eN.e. jycNdr, beNglluuru skuul ruupdlli kthaasaahityvnnu erddu vrgglllli viNgddisbhudu jaanpd kthaasaahity mttu abhijaaty(shisstt) kthaasaahity, jaanpd ktheglllli jaanpd mnssin shj mttu svaabhaavik abhivyktiyiruvudu. kthegaar yaavudnnu heelluvnoo keelluvnoo, adu smuuhd vaanniyaagi, smuuhdlli bertuhoogiruvudu. ii kthegllu jaanpdr cittdiNd neervaagi hutttti srvsaadhaarnnrnnu aaNdoolit, clit haaguu prbhaavitgollisuvudu. allde jntey aaddu maatinlli breylpdduttve. ii ktheglllli maanvjaatiy aadim prNpregllu, pddhtigllu mttu avr vividh prkaard nNbikegllu ottttaagi pddeybhudaagide. nRty, mNtr-maatt, smmoohn, vshiikrnn, bhaagy, shkun, roog, mRtyu, kRssiy saadhn-prkaargllu, saamaajik riitirivaajugllu modlaadvugllu jaanpd kthegll tttv(gunn)gllaagive. abhijaaty (shisstt) ktheglllli shikssit, sNpnn haaguu susNskRtd vilaas, vaibhv, prNpre, riitirivaaju haaguu aacaar-vicaard niruupnneyiruttde. abhijaaty kthegllu smst smaajddll, keevl abhijaaty vrgddaaguttde. ii prkaar kthegllnnu jnr aaddunuddiylli breyuvudill, bdlaagi yaavudaadruu saamNtiiy (praaNtiiy) prisskRt bhaasseylli breyuttaare. sNskRt bhaasseylli breylaagiruv kthegllu bhaasse mttu saamNtiiy vrgvisheessd citrnnvaagiruvudriNd avu abhijaaty (shisstt) vrgddaagide. ivuglllli citrit smaaj mttu sNskRti unnt vrgddaagide, jn saamnyr citrnn ii ktheglllli ill. praakRt kthe mttu adr saamaany bheed : praakRt kthegllnnu jaanpd kthegll sNskrnn ruupdlli sviikrislaaguttide. idrlli nimm mttu unnt erdduu prkaard smaajd citr pddeybhudaagide. praakRt bhaasseyuu jntey bhaasseyaagittu, sNskR bhaasse shissttvrgddaagiruvaag. aaddriNd bhaassey dRssttiyiNdluu ii kthegllnnu jaanpdkthegllige nikttvaaduvu eNdu tilliyuvudu trksNgtvaagide. prtiitvaaguvudeeneNdre praakRtkthegaarru jaanpd kthegllnnu dhaarmik kthegll erkd accinlli * ddaa|| neemicNdr jain avr oNdu diirgh leekhnd mukhy bhaagvnnu sNgrhisi sNpaadisi koddlaagide. 286 -

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haakuv prytn maaddiddaare. idriNd ivuglllli jaanpd sNskRti puurnnvaagi prtiphlngoNddide. praakRt kthegll lkssy muultH krmphl, punrjnm aatmshuddi vrtsaadhne haaguu tpshcrnnd muulk maanvniNd bhgvNtnaaguv sNdeeshvnnu niidduvudaagide. aatmsaadhne yaavudee oNdu bhv(jnmdlli sNpnnvaaguvudill . idkkaagi aneek jnm-jnmaaNtrdvrege prytnmaaddbeeku. yaav vyktiyu yaaroNdigaadru shtrutv, mitrtv athvaa any yaavudee prkaard bhaavvnnidduvnoo, ii bhaavney nirjre yaavudee oNdee bhvdlli sNpnnvaaguvudill. vair- viroodh aneek jnmgllvrege saagi bruttiruttve, idriNd vyktige shuddhiyaaglu bhv-bhvaaNtrdvrege saadhne maadduv aavshykteyiruvudu. krmphl essttu prblvaagide eNdre, yaav preem, raag, dveess, mmte- mooh, mRnnaa-klh modlaad bhaavgll smaapti yaavudee oNdu jnmdlli sNbhvvill, agnnit jngllvrege ukt sNskaargll prNpre saaguttaa bruttde. punrjnmd udghaattnegllu jainmuni haaguu krmvaadd bhooktaaraad naayk-naayikeyr shiilsthaaptyd sNdrbhdlli , jaanpd kthegll aneek ruup prkttgolllluttve. praakRt bhaasseylli likhitgoNddiruv kthaa saahity gunn mttu primaann erddu dRssttiyiNdluu mhtvpuurnnvaagive. kthegaarru idrlli jnjiivnvnnu puurtiyaagi citrisi, saahitykke apuurvnidhiynnu prdaan maaddiddaare. praakRt kthaasaahityd biij aagm grNthglllli uplbdvaaguttve. niryukti, bhaassy, cuurnni modlaad vyaakhyaagrNthglllli cikk-dodddd ell prkaard saaviraaru kthegllu doreyuttve. aagm saahitydlli dhaarmik aacaar, aadhyaatmik ttr- ciNtn haaguu niiti-sdaacaard niruupnneynnu kthaa maadhymdlli maaddlaagide. siddaaNt niruupnne, ttv nirnny haaguu drshnd guuddh smsyegllnnu kthey maadhymdiNd prihrisuv prytn aagmgrNthglllli kNddubruvudu. aNg mttu upaaNg saahitydlli iNth sNveednaashiil aneek aakhyaangllu bNdive, ivu aitihaasik mttu pauraannik tthygll tillivllikeyoNdige brbrtey nirmm ghaatti(knnive)ylli nirupaayvaagi urulluttiruv maanvteynnu naitik mttu aadhyaatmik bhaav-bhuumiy meele tNdu, maanvnnnu mhaan mttu naitik adhisstthaatnnnaagi maaddlu skssmvaagive. praakRtd kthegaarru smaaj mttu vyktigll jiivnd vikRtigll essttu prhaar maaddiruvroo assttnnu any bhaassey kthekaarru maaddill. - 287 -

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styvaadudeeneNdre, aagm-saahitydlli pryukt ktheglllli ghttnaavihiinte, mnoovaijnyaanik suukssmte haaguu shiilniruupnnkkaagi aavshyk vaataavrnn mttu kthnoopkthn kddimeyiddruu, dhaarmiktey smaahaar iruvudriNd jiivnvnnu aadr smst vistaardoNdige noodduv prvRtti vrtmaanvaagide, idriNd ii ktheglllli sthaaptyd dRssttiyiNd yaav viruupteyuu ill. ivuglllli puuraa critr, yaavudoo puurnnvrt, yaavudoo vrjnaa, yaavudoo aacaar haaguu sjiiv krmyuktte vrtmaanvaagide. jaatiiy sNskRtiy aadhaard meele critregll vyktitvd sNghttne, avugll niymn ii vishissttteyiNd ii ktheglllli critrey nishcyaatmk prbhaav aNttH biddee iruttde. upmegllu, dRssttaaNtgll avlNbneynnu hiddidu, jnteynnu dhrm- siddaaNtd kdde sellediruvudee aagmkaald kthegaarr visheessteyaagide. alli heelliruv kthegll utptti upmaan, ruupk mttu prtiikgll aadhaard meele aagide. aagmkaaliin kthegll nNtr paakRt kthaa saahityd erddney yug, ttiikaayugvaagide. aagm kthegllu "vnnnn'd muulk bhaarvaagiddvu. cNpaa athvaa any yaavudaadru ngrd vrnnney muulk smst vrnnneynnu avgt maaddikolllluv kdde sNkeetvnnu niiddlaaguttittu . aadre ttiikaa grNthglllli ii prvRtti ill , haaguu ktheglllli vrnnne aagtoddgitu. mttoNdu kaannisikoNddddu eeneNdre eekruuptegll sthaandlli vividhte haaguu nviintey pryoog aag toddgitu. nviintey dRssttiyiNd paatr, vissy, prvRtti , vaataavrnn, uddeeshy, ruupghttne haaguu niitisNshleess modlaadvu, aagm kthegll dRssttiyiNd ttiikaa-ktheglllli heccu nviinteynnu gurutisbhudaagide. ii yugd kthegll priveesh (prbhaapridhi) saakssttu vistrtvaagide. vaastvvaagi kthey ruup athvaa sthaapty erddu sNgtigll meele nirbhrvaagiruttde. - modlneydu, oNdu kthe yaav vaataavrnndlli ghttitvaaguttide, idr vistaar siime mttu nirnnaayk t yaavuvu aagive ? vissydoNdige paatrgll uddeesh yaav prkaar ghttitgolliside ? kthegll ruupaakRtiynnu prbhaavitgollisuv nirdhaark tttvd uddeeshd bgge essttu eccrikeyiNd mttu prbhaavvnnu uNttu maadduvvlli essttu kssmte (saamrthyvide ? kthey ruupvnnu nirdhrisuv erddney sNgti, adr aavshykte, jiivnd yaav aavshyktey puurtigaagi ktheynnu breylaagide, adr prtipaadney uddeeshveenu ?haaguu aa uddeeshd abhivykti yaav prkaarvaagi sNpnnvaagide. ivellvuu kthaasaahityd ruup-vidhaandlli smmillitvaagive. ttiikaa-yugd kthegll aavshykteyu spssttvaagi bhaassy athvaa - 288 -

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vyaakhyaand srpnniylli niiti athvaa yaavudoo tthyvnnu pussttigollisuvudee aagide. aagmkaald kthegllu saaNprdaayik dhaarmikteyiNd abhibhuutvaagiddvu - vshiibhuutvaagiddvu avuglllli mnoorNjne mttu kutuuhlvu bhushH illvaagiddvu. keevl kelvu ghttnegll shRNkhleyee yaavudoo critrd athvaa nisseedhd ruupvnnu prstut maadduttiddvu, aadre ttiikaayugd praakRt ktheglllli 'kthaars' cennaagi millitvaadvu. aakaar-prkaarvu sh cikkdaayitu. haaguu vibhinn vissygll sNbNdhveerptttt kaarnn avuglllli aneekruupte kNddubNditu. aitihaasik, ardh-aitihaasik haaguu pauraannik prvRttigll udghaattneyu sh aarNbhgoNdditu. paadlipt suuriy 'trNgvtii' kaavydiNd praakRtd vishudd kthaasaahity praarNbhvaayiteNde tilliylaagide. critaatmk kthaagrNthd ruupdlli sNghdaasgnnivaack mttu dhrmseengnniy 'vsudeev hiNddi' y hesru bruttde. idu gunnaaddyn bRhtkthe'ge smaanvaad kthaakooshvaagide. idu praakRt kaavy haaguu kthey vikaaskke muulneley grNthvaagide. idr nNtr vimlsuuriy 'pumcriy' modlaad aneek crit grNthgllu kNddubruttve. ivuglllli 'kthaars' d dRssttigiNt 'crit' vee prdhaanvaagide. aaddriNd ivugllnnu vishuddh kthaakRtigll saalinlli visheessvaagi prignnisuvudill. 'trNgvtii' y nNtr vishudd kthaasaahityvnnu hribhdr suuriy 'smraaicckhaa'dlli kaannutteeve. idee hribhdrsuuriy 'dhuurtaakhyaan' vyNgy prdhaan kthaa rcneyaagide. kautuuhl kviy 'liilaavt', udyootn suuriy 'kumly maalaa', jineeshvr suuriy 'nirvaann liilaavtii', jineeshvr suuriy 'kthaakooss prkrnn', jincNdrn 'sNveegrNgshaalaa', mheeshvr suuriy 'naannpNcmii khaa' deevbhdrsuuriy 'khaa-rynn-koos', neemicNdr suuriy 'aakhyaanmnnikoosh', sumti suuriy 'jindttaakhyaan', mheeNdrsuuriy "nrmdaasuNdri khaa', soomprbh suuriy 'kumaarpaal prtiboodh', ajnyaat krtRvin 'praakRt kthaa sNgrh', rtnsheekhr suuriy 'sirivaalkhaa' (shriipaal kthaa), jinhrsssuuriy "rynn-seehr- niv-khaa' (rtn sheekhrvrt kthaa), viirdeev gnniy 'mhiipaalkhaa' - ii modlaad prmukh praakRt kthaakRtigllllde, sNghdaas tilk suuriyu 'aaraamsoohaa khaa' modlaad kthegllnnu brediddaare. deevcNdr suuriy 'kaalikaacaary kthaank' haaguu ajnyaat kviy 'mlysuNdr kthe' yu sh suNdr rcnegllaagive. -289 -

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puurvookt kthaakRtigllllde updeeshprd kthegllnnu sh dhrmdaasgnni, hribhdrsuuri modlaadvru gmnaarhvaagi rcisiddaare. ii rcneglllli kthey srvaaNgiinn vikaas prmukhvaadudll. aadre sNym. shiil, daan modlaad bhaavnegll vikaas prdhaanvaagi kNddubruttde. buddhivNtikey kthegllnnu sh ii vrgd saahitydlliyee seerislaagide. praakRt saahityd hlvu visheesstegllu : hiNdi mttu aapbhrNshd preemaakhyaan kthegll vikaas praakRt ktheglliNd aagide. aaddriNd praakRt kthegaarru dhrmktheglllli shRNgaar rsdiNd kuuddid preemaakhyaangllnnu smaaveeshgollisi kthegllnnu lookoopyoogiynnaagi maaddidru. mdn-mhootsv, vsNt kriiddaa, preemptr, saahsit kriiddegllu, preemigll vibhinn maansik nelegllu, preemaanuraag, preemaalaap, haasy-vinood modlaadvnnu puurnnvaagi smaaveeshgollisiddaare. ruupvidhaand dRssttiyiNd praakRt kthegllu 'biijdhrm'vaagive. kthaabiijdiNd oNdu vishaal vttvRkss utpnnvaaguttde mttu aneek avaaNtr, praasNgik kthaashaakhegllu hordduttve, avu ell dhaarmik aNtshveetndiNd praann tttvvnnu sviikrisuttve. praakRt ktheglllli 'kthootth prrooh' shilpvnnu pddeyutteeve. iirulllliy sippeyollgin sippege smaanvaagi athvaa baalle diNddin pdrdollgin pdrkke smaanvaagi oNdu ktheyiNd erddney kthe mttu erddneyvriNd muurney kthe horbruvudu haaguu aald mrd billlige smaanvaagi koNbey meele koNbe ollddmuudduttaa hooguvudu, idnnee 'kthootthprooh' shilpveNdu sviikrisuvudu. ii sthaaptyd pryoog smst praakRt ktheglllli kNddubruvudu. mnoorNjney jotege vrnnnaa shailiynnu shjvaagisiddaare. yaav prkaar vRttvnnu hlvu aNshglllli vibhjislaaguvudoo mttu aNshgllu puurnn pridhiylli vRttd smgrte prkttvaaguvudoo, adee prkaar kthootprroohd aadhaardlli itivRttd smst gtividhi prkttvaaguvudu. vaastvdlli vttvRkss ciguroddeyuvudkke (billlubidduvudkke) smaanvaagi upsthit ktheylli sNkeetaatmkte mttu prtiikaatmktey yoojne suNdrvaagiruvudu. priveeshgllu athvaa prveeshmNddlgll niyoojneyu sh jiivn mttu jgttin vistaarvnnu naayk mttu prtinaaykn critr nirmaannd ruupdlli ottttuguuddiruttve. rcneylli sNpuurnn itivRttvnnu ii prkaar suvicaarit riitiylli vibhktgollislaagide, allde prtyeek khNdd athvaa priccheed tnn pridhiylli praayH puurnndNte prtiitvaaguttde mttu kthey sdRsstti-yoojnaa praabhvnnu utkrssinmukhgollisuttde. - 290

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saahtydlli cNpuuvidhaad (prkaard) vikaas shaasn brh mttuprshstigll apeeksseyiNd, gdy-pdy mishrit praakRt ktheglliNd bNdide eNdu tilliyuvudu heccu trksNgtvaagide. praakRtdlli kthegllnnu roockgollisuvudkkaagi gdy-pdy erddnnuu pryoogislaagide. pdy bhaavney prtiikvaagide mttu gdy vicaard prtiikvaagide. modlneydr sNbNdh hRdydoNdige, erddneydr sNbNdh mstisskdoNdige. aaddriNd praakRt kthegaarru tmm kthnd pusstti , kthaankd vikaas, dhrmoopdeesh, siddaaNt niruupnn haaguu ktheglllli prbhaavootpaadkteynnu trlu gdydlli pdyd cuNbnd gurutu mttu pdydlli gdyd cuNbnd gurutu tNdiddaare. smraaicckhaa mttu kuvlymaalaad gdy-pdymyi visheesste cNpuu prkaard utpttige kaarnnvaagirbhudu. sNskRtdlli trivikrm bhttttn mdaalsaacNpuu mttu nllcNpuugiNt modlee yaavudee cNpuugrNth uplbdvaaguvudill - dNddiyu cNpuvin pribhaasse niiddiddaane, aadre praakRtdlli dNddiguu modlee gdy-pdy mishrit shailiylli bred ktheglliddvu. aaddriNd nmm dRssttiylli sNskRtdlli cNpuuprkaard muulsoot (muulnele) praakRt kthegllee aagive. praakRt kthegllu jaanpd kthey aadimruupgllaagive. vsudeev hiNddiylli jaanpd kthegll muulsroot surkssitvaagide. gunnaaddyn bRhtktheyu paishaaci praakRtdlli breylaad jaanpd kthegll vishvkooshvaagide. aaddriNd praakRt kthegllige jaanpd ktheglloNdige ghnisstthvaad sNbNdhvide. jaatiiy gaurv, viirpuuje, jiivnd nviin vyaakhyaa haaguu sNkeetvisheessd uplbbi praakRt ktheglllli pddeybhudaagide. vishisstt tthy, saamaajik mttu raajnaitik vaataavrnnd ythaatthy citrnn haaguu ghn smsyegllige smaadhaan praakRt ktheglllli hudugide. kthegll caukttttu jaanpd ktheydaagide, praakRt leekhkru idee dhraatld meele dhaarmik kthegll nirmaann maaddiddaare. saadhaarnnvaagi praakRt kthegll svruup paalikthegllNte kNddu bruttde, aadre aNtrvide. paali kthaa saahitydlli puurvjnm kthey mukhy bhaagviruttde, aadre praakRt ktheglllli adu keevl upsNhaard kaary maadduttde. paaliktheglllli boodhi stv athvaa bhvissy buddndee mukhypaatrviruttde mttu kthey aNty prinnaam updeesh kthey ruupdlli aaguttde. ell jaatk kthegllu oNdee 'pittii-pittaann' shailiylli breylaagide. aadre praakRt kthegllu 'bhuut' vll, vrtmaanvuu aagiruttde. praakRt kthegaarnu jnm-jnmaaNtrgll sNbNdhvnnu vrtmaandoNdige jooddisuttaane. siddaaNtd prtissttheynnu sh siidaa-saadaa ruupdlli maaddvudill, bdlaagi paatrgll kthoopkthn mttu shiilniruupnn - 291 -

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ityaadigll muulk saamaanyvaagi abhivyktvaaguvudu. praakRt kthegaar tnn paatrgllige neervaagi naitikteynnu toorisuvudill. critrd vikaaskkaagi, avnu yaavudaadru preem kthe athvaa any yaavudaadru jaanpd kthey muulk avn jiivnd vikRtigllnnu upsthit maadduttaane. diirgh sNghrssd nNtr paatrvu yaavudaadruu aacaary athvaa keevliynnu sNdhi suttaane mttu avr sNprkdiNd avn jiivndlli naitikte bruttde. idee sthlld meele siddhaaNtd sthaapneyu sh itivRttd shkaardiNd aaguttiruttde. kthaank mttu ghttnegll vikaas mnoorNjk shailiylli aaguttde. pro. hrttel avru praakRt kthegll visheessteyiNd atyNt aakrssitraagiddaare. avru hiige tillisiddaare. - 'aa kthe heelluv kley vishissttteynnu praakRt ktheglllli pddeyutteene. ii kthegllu bhaartd bhinn bhinn vrgd jnr riiti-rivaajnnu puurnn stydoNdige abhivykti maadduttde. ii kthegllu jnsaadhaarnnr shikssnnd ugm sthaanvaagudssttee all, bhaartiiy sbhytey itihaasvuu aagide.'! bhaartiiy sNskRti mttu sbhytey ythaarth jnyaan hoNdlu praakRt kthaa saahity bhll upyoogi ennuvudrlli yaav sNdeehvuu ill. jnsaadhaarnnriNd tegedukoNddu raaj-mhaaraajrvrege critrvnnu essttoNdu vistaar haaguu suukssmteyoNdige citritgoNddideyoo assttu any bhaassaa kthegaarriNd aagill. nimm shreenniy vyktigll ythaarth muulyaaNkd praakRt ktheglllli smmillitvaagide. ii kthegllnnu keevl dhaarmik ktheglleNdu tilliylaagdu. ivuglllli kthaars prcurtey kaarnn, ivuglllli mnoorNjne, kutuuhl, prbhaavaanviti mttu puurnnruupdiNd iruvudriNd ivugllnnu uttm shreenniy ktheglleNdu sviikrisbhudaagide. jiivnd vistaardlli essttu smsyegllu mttu pristhitigllu bruttveyoo, avuglliNd naanaa prkaard sty mttu siddhaaNtgllu horhommuvvoo avugllellvuu ktheglllli ytheessttvaagi smaaveeshvaagive. ii ktheglllli paatrgll kriyaashiilte mttu vaataavrnnd sjjugolllluvikey naanaa prkaard aavshyktegllnnu sRssttisuttde. ii ktheglllli aihik smsyegll ciNtne, paarlaukik smsyegll smaadhaan, dhaarmik-saamaajik pristhitigll vivrnne, arthniiti, raajniitiy nirdeshn haaguu jntey vyaapaarik kushltey udaahrnne ottttuguuddive. pshupkssigll kthegll vikaasvuu sh praakRt ktheglliNd aagide. sNskRtdlli guptsaamraajyd punr jaagrnnd nNtr niiti athvaa updeesh niiddlu pshu-pkssigll kthegllnnu breylaayitu. aadre 'naayaadhmm kaahaaoo'dlli 292

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baaviy kppe, erddu aamegllu modlaad aneek suNdr praannikthegllu aNkitvaagive. aacaar mttu dhrmd updeeshvnnu pshu haaguu any praannigll dRssttaaNtvnnu niidduv naanaa prkaard kthaankllu mttu ghttnegll muult niiddlaagide. 'nyaaydhmmkhaaoo'd praannikthegllu svyN bhgvaan mhaaviir mukhdiNd heelllaagide. niryuktiglllli aane, muussk (ili), hrinn mttu vaanr modlaad praannigll aneek kthegllu doreyuttve. vaastvvaagi pNctNtr, hitoopdeesh modlaad grNthgll praannikthegllu praakRt ktheglliNdlee horge bNdive. praakRt ktheglllli aihik smsyegll ciNtne, paarlaukik smsyegllige smaadhaan, dhaarmik, saamaajik pristhitigll vivrnn, sNgiit citr vaastu kthegll suNdr udaahrnne haaguu vibhinn prkaard pristhitigll daakhleynnu maaddlaagide. ii kthegll uddeesh keevl mnoorNjne niidduvudssttee all, prtiyaagi vyktitvd nirmaann mttu critrd utkrssvnnu toorisuvudaagide. ivuglllli vrnnaashrm dhrmd bgge bNddaay toorlaagide. maanv smtvd siddhaaNt haaguu jnm-jnmaaNtrd sNskaargll alliyd prbhaav haaguu krmphlvnnu trikaalaabaadhitvaagi siddh maaddlaagide. kthaankgll vikaasdlli caamtkaarik ghttnegllu mttu aprtyaashit (aniirikssit) kaarygll yoogd muulk mnoovaijnyaanik dvNdvd sthitigllnnu sh citrnn maaddlaagide, idriNd kthegll siddhaaNtgll sphoottn mttu paatrgll critr citrnn aaguttlide. praakRt kthaa saahityd kthe srisumaaru erddu saavir vrssgllddaagide. ii diirgh smydlli adr shilpdlli aashcry huttttisuv vikaasvaagide. vibhinn smy, pristhitigllu mttu vaataavrnndlli nirmitvaad ii kthegll shilpdlli aneek ruupgllu kaannisikolllluttve. aaddriNd sthaapty-vikaasd dRssttiyiNd praakRtktheglllli aneek prkaard visheesstegllu prilkssitvaaguttve. bhaartiiy vaahmydlli saahity prkaargll vikaasd dRssttiyiNd praakRt kthegll adhyyn prm aavshykvaagide. praakRt kthaasaahityd mttoNdu visheesste eeneNdre, ktheylli bNdiruv prtiikgllige uttraardhdlli saiddhaaNtik vyaakhyaaynnu niiddivudu. udaahrnnegaagi vsudeevhiNddiy 'ibbputtkhaannyN' d upsNhaar aNshvnnu illi uddht maaddlaagide. 'jhaa saa gnniyaa, thaa dhmmsuuii jhaa tee raaysnnii, thaa sur-mnnuy suhbhoogi paanni, jhaa aabhrnnaanni, tjaa deesvirtishiyaanni tvoovhaannaanni. jhaa soo ibbputtoo, thaa mokkkNkhii purisoo. jhaa pricchaakoosllN, th smmnnaannN. - 293 -

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jhaa ry apaaypiiddN, thaa smRdvNsnnN jhaa rynnaanni, thaa mhtvyaanni, jhaa rynnvinnioogoo thaa nippaannsuhlaabhoo ."-vsudeevhiNddi, pu.4. viNttr nissnu sh praakRt kthaa saahityd prshNse maadduttaa hiige heelliddaane - 'praakRt kthaasaahity nijvaagiyuu vishaalvaagide. idr mhtv keevl tulnaatmk prikthaa (upkthaa) saahityd vidyaarthiglligaagiyee ill, aadre saahityd any shaakhegll aapeeksseyiNd nmge idrlli jnsaadhaarnnr vaastvik jiivnd noottgllu sh siguttve. yaav prkaar ii kthegll bhaasse mttu jnr bhaasseylli aneek saamygllive, adee prkaar avugll vrnny vissyvu sh vibhinn vrggll vaastvik jiivnd citr nmm muNde haajrupddisuttde. keevl raajr mttu puroohit jiivnvee ii kthaasaahitydlli citritvaagill, allde saadhaarnn vyktigll jiivnvuu sh aNkitgoNddide. vaastvaagi praakRtkthegll paatr klaatmk dRssttiyiNd yaavudaadruu smsyeynnu tegedukoNddu upsthitvaaguttve. avu kthey praarNbhdiNd upsNhaardvrege tmm jiivnd anNt kssttgll jote aa smsyeynnu oNdu kddeyiNd innoNdu kddege hottukoNddu hooguttve. itivRttgll heccu dttttnneyiddruu sh kthaaprvaahdlli yaavudee tdde aaguvudu kNddubruvudill. kthaankgll tiruvugllu roockteynnuNttu maadduvudrlli shaaykvaagive. mukhy kthey siddaaNtvnnu (abhipraayvnnu) avaaNtr kthegll muulk spssttpddislaagide. praakRtd snnnnktheglllli ghttne mttu uddeeshy - ii erdduu tttvgllu dorkuttve. suukti mttu lookoottigll muulk snnnnktegllnnu mnoorNjkvaagi maaddlaagide. praakRt ktheglllli vyvhRt prmukh kthaank - ruuddhigllu (kthaashygllu) : ktheglllli mtte mtte bllslpdduv oNdee riitiyiruv ghttnegllu athvaa oNdr haagee iruv vicaargllnnu kthaank- ruuddhi (kthaashy) eNdu gurutislaagide. ii shbd iNgliissin phiksn moottiph shbdd pryaayvaagide. aacaary hjaariprsaad dviveedi avru, ''nmm deeshd saahitydlli kthaankgllige gti mttu suttaaddislu kelvoNdu abhipraaygllu bhll diirghkaaldiNd bllkeyaagutt bNdide, avu bhll duurdvrege ythaarthvaaguttve, mttvee muNduvredu kthaankruuddhiyaagi bdlaaguttve'3 kthaankruuddhigllnnu pryoogisi sNskRtiy jote kthaattvvnnu yoojisbeekaagide. saamaanyvaagi kthaankruuddhigll muulk kellge kaannisuv gunngllnnu seerislaaguvudu - - 294 -

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1. ktheglllli gtimtv (clnshiilte)- krmd nisstti 2. kthaankgllu mttu ghttneglllli hos tiruvu uNttumaaddvudu. 3. ktheynnu vistrisuvudu. 4. sNkeetgll muulk kthey uddeeshd spssttikrnn. 5. prksseepglliNd kthaasuutrd adhyaahaar maadduvudu. 6. puraatn sNskRt mttu prvRttigll sNyoojne. 7. bhaavi ghttnegll sNsuucne. 8. ghttnegll aavRttiyiNd utpnn niirsteynnu hooglaaddisuvudu. praakRt kthaa-saahitydlli pryukt smst kthaankruuddhigll vishleessnne maadduvudu ii lghu gaatrd niNbNdhdlli sNbhvvill, aadudriNd kelvu prmukh kthaankruuddhigll pttttiynnu prstutpddislaagide - 1. kudurey beette smydlli nirjn-vnvnnu prveeshisuvudu, daari mretu hooguvudu; smudr pryaannd smydlli yaan bhNggolllluvudu mttu mrdhlgey shaaydiNd naayk-naayikeyr praannrkssnne - iNth ghttnaatmk aashygllu ii shreenniylli seeruttve. 2. mhaan shktishaali vykti jnisuv modlu svpnvaaguvudu haaguu bhvissysuuck shubh shkungllu goocrisuvudu. 3. svpnglllli yaavnoo obb puruss athvaa striiynnu kNddu avrlli moohgolllluvudu athvaa abhishaap, yNtr-mNtr, maatt-mNtrd bldiNd ruup-privrtngollisuvudu modlaad vicaar haaguu nNbikegllu seeruvudu. 4. bhvissyvaanni mttu aakaashvaanniy yoojne, naayk naaykiyr guttttin ghttnegll suucne niiddlu ukt vaannigll pryoog, avr krtvyd suucne haaguu bhaavi-phlaaphl. 5. raaksss mttu vyNtrr maatukte, vyNtriy preemyaacne, ruupaaNtr muulk naayknige moos maadduvudu haaguu vidyaadhrr muulk naaykn kaaryglllli shyoog niidduvudu. 295 -

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6. ktthin kaarygllnnu saadhisuvaag shaaymaaddlu deevtegllu aagmisuvudu, vishisstt sNdrbhglllli deevnu prkttvaagi naayk athvaa naayikey praann rkssisuvudu. 7. yaavudaadru visheess kaarnndiNd puurvjnmd srnneyuNttaagi naayk athvaa naayike tnn puurvbhvd preemiynnu pddeylu prytnisuvudu; mNtr aussdhi citrptt- yaatre modlaadvugll cmtkaar pryoog mttu avugll muulk vilkssnn kaarygllnnu saadhisuvudu haaguu yaavudaadruu ngrd raajn mRtyuvaadaag deevaadhisstthit vstugll muulk hos raajnnnu sthaapisuvudu. 8. vairaagy praaptigll nimittgll yoojne, nirjn sthaandlli dhvst ngr athvaa bhvn doreyuvudu, alli raaksss athvaa vyNtrn updrv, yaavllaadru ruupvti raajkumaari athvaa shreesstth knaiy sdbhaav, naayknu aa knyyoNdige vivaahvaaguvudu, haaguu tmm ngrd kdde pryaannisuvudu. khllnaaykniNd naayknnnu smudrkke biillisuvudu, naayknu paaraagi bruvudu. naayikey shiild meele khllnaaykn aakrmnn, aadre naayike dRddhte mttu aNtydlli yaavudaadru jinmNdir athvaa any dhrmsthaandlli aaryikey smmukhdlli saadhneylli toddguvudu, kaalaaNtrdlli naayknoNdige miln mttu avn vipttigllu konegolllluvudu. 9. citrpttd mukhaaNtr puurvbhvd naayike athvaa naaykn anveessnne, vivaahdlli vighnu haaguu sNghrssdnNtr vivaah nerveeruvudu. annnn-tmmNdirlli iirssy, avn ngr tyaag, shubhoodydiNd tmmnige dhnaarjne, anNtr annnnNdiru sh allige aagmisuvudu. 10. jnm jnmaaNtrd shRNkhleylli oNdu jnmdlli shtruvaadvnu muNdin jnmdlli shtruvaagi avtrisuvudu, prtishoodh (mukhy) tiirislu aneek prkaard kssttgllnnu uNttumaadduvudu haaguu kssttshissnnuvaagi jnr shaanubhuuti hoNduvudu. 11. kiriy raanniylli preemaasktnaad raajn muulk anyraanniyrige haaguu avr mkkllige anyaay maadduvudu, putrr videesh gmn, alli dhnaarjne mttu shkti sNpaadne. hiNtirugid nNtr raajniNd svaagt mttu ythoocit snmaan. - 296 -

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ii prkaar praakRt ktheglllli vibhinn kthaank ruuddhigll pryoogvaagiruvudriNd avugll prNpre praaciinte siddvaaguttde haaguu saahityd mhtvvuu prkttvaaguttde. saamaajik prNpre, riiti-rivaaju, klaakaushl, vidyaa-buddi, jnyaan-vijnyaan modlaad nuurkkiNtluu heccu kthaank ruuddhigllu (aashygllu) praakRtkthaa saahitydlli smmillitvaagive. bhaartiiy sNskRti, saahity mttu praaciin pristhitigll prijnyaankke praakRt kthaa saahity atydhikvaagi upyoogi aagudrlli yaav anumaanvuu ill. addittippnni 1. aan di littreecr aaph di shveetaaNbraas aaph gujraat, pu.8. 2. di histtri aaph iNddiyn littreecr, bhaag-2, pu. 545 3. hiNdi saahity kaa aadikaal, pttnaa, pr.mu, pu.74 -0-0-0 -297 -

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36. gommttsaar - mhtvd jain siddaaNt grNth Gommatasara - A Philosophical Text ''mhaaviir tiirthNkrr divydhvniyiNd hortt dvaadshaaNgruupvaagiruv shaastrvnnu gnndhrru rcisidru. anNtr idu maukhik prNpreyiNd, aacaary prNpreyvrege muNduvriyitu. obb aacaaryru mttobb aacaaryrige avr dhiishktiynnu gmnisi shrutvnnu dhaareyereyuttaa bNdru. hiige maukhikvaagi nddedubNd prNpre ii pNcmkaaldlli smrnnshkti dhaarnnshkti kddimeyaaguttaa bNdaag shrutjnyaanvnnu lipibddhmaaddbeekennuv yoocne praarNbhvaayitu. hiige aacaary prNpreyiNd lipibddvaad aagmdrshn grNthgllu prcaarkke bNdvu'' eNbudaagi jainsiddaaNt grNthgll bgege shrutpddisiruv puujy svstishrii caarukiirti bhttttaark mhaasvaamiijiyvr maatugllu mnniiyvaagive; jainaagm drshngrNthgllu astitvkke bNd riitiynnu saadrpddisuttve. iNth mhtvd grNthglllli shrvnnbellgolldlli neleniNtidd aacaary neemicNdr siddhaaNt ckrvrtiglliNd rcitvaad 'gommttsaar' bhumhtvvnnu pdded apruupd jain siddaaNt grNthvaagide. iNth grNthglllli iig uplbdhviruvNte ssttkNddaagm mttu kssaaypaahuddgllu haaguu avugll ttiikegllaad dhvll jydhvll mhaadhvll grNthgllu prthmsthaandllive. ii dhvll grNthgll muul oolekttttugllnnu pvitrveNdu pribhaavisid jainsNskRti sNrksskru dkssinnkaashi eNdu prsiddhvaagiruv dkssinn knndd jilley muuddbidrey bsdiylli siddaaNt drshnkke miislaagirisiddaare. iNth pvitr grNthgll shaashvt rkssnneyaagbeekeNdu bysid maisuuru vishvvidyaanilyd praacyvidyaa sNshoodhnaalydllin adhikaarigllu 1956rssttrlliyee muuddbidreyllin hstprti sNrksskrnnu oddNbddisi avugll maikroophilN maaddi tNdudu oNdu avismrnniiy ghttneyaagide. - pro. bi.es. snnnnyy, maisuuru pvitr grNthglleNdu prignnitvaad agaadh vistaarteynnu hoNdiruv dhvltry grNthgll sNkssipt pricyvnnu pddeybeekeNb bykeynnu gNg raacmlldoreylli dNddnaayknaagidd, 57 addi ettrd suNdr baahubli muurtiynnu shrvnnbellgolld viNdhygiriylli saakaargollisid caavuNddraaynu tnn gurugllaagiddaacaary neemicNdr siddhaaNt ckrvrtiglllli binnvisikoNddnu. ii binnhd kuruhaagi rcnegoNdd dhvlltrygll saarsrvsvvnnu ollgoNddiruv punnygrNthvee -298

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'gommttsaar'. ii grNthvu jiiv ajiivgll visRt niruupnneynnollgoNdd anupm kRti. jain siddaaNtgll saarsrvsvvnnollgoNddNth mhtvvnnu pddediruv ii kRti jaintttvveettrige jnyaand bttd seleyaagide. bhautik abhautik vissygllellvnnuu kuulNkssvaagi vimrshisi vistrisuv riiti annyvaadudu. idrlli laukik vicaargllu haaguu alaukik anubhvgllu bittrgoNddive. iNth apruupd hiriy siddaaNt grNthrcneyaadudu kri. sh. 978rlli idrlli jiivkaaNdd mttu krmkaaNdd eNb erddu vibhaaggllive. aNdin jnsaamaany bhaasseyaagidd praakRtdlli rcneyaad ii kRtiy jiivkaaNdddlli 732 gaaheglluu krmkaaNdddlli972 gaaheglluu ive. ivuglllli trilookd saakssaatkaarvide; ii lookd jiiv ajiivgll vividh ghttttgll saalooky saamiipyvide. sulbhvaagi baayipaatthd muulk vissy prsaarvaagbeekeNb bykeyiNd mussigraahy dRssttiyiNd rcitvaad ii gaahegll viskt vivrnney aavshykteynnu mngNdd hiriy vidvaaNsru sNskRtdllllde tmm tmm deesiiy bhaasseglllliyuu vyaakhyaangllnnu rcisidru. adrNte 'gommttsaar'grNthkke sNskRt knndd mttu hiNdi bhaasseglllli vyaakhyaangllu rcitvaagive. hiriy vidvaaNsraagidd ddaa. aa. nee. upaadhye avru nirnnyisiruvNte 'mNdprboodhikaa' eNb sNskRt vyaakhyaanvnnu abhycNdrru rcisiruvreNduu idu jiivkaaNddd 383ney gaaheyvrege maatr doretiruvudeNduu tillisiddaare. hiigaagi sNskRtdlli rcitvaagiruv mNdprboodhikaa ttiikeyu asmgrvaagi niNtide. mttoNdu sNskRt ttiikeyaad 'jiivtttvprdiipike'yu gommttsaard krtRglliNd beereyaad, su. 1650rllidd neemicNdr eNbuvriNd rcitvaagiruvudnnu dRddhpddisuttaare. keeshvnnnnnu knndddlli rcisiruv 'jiivtttvprdiipike'yee neemicNdrr sNskRt jiivprdiipikege aadhaarvaagide eNdu heellid avru adkke aadhaarvaagi neemicNdrru heellid keeshvvrnni bhvy vicaar krnnaattk ttiikaa anusaar sNskRt ttiikaa kiinii eehu joo ashud soo shud kreehu || eNdu heelliruvudnnu udaahrisiddaare. pN. khbcNdr, pro, mnoohrlaal modlaadvru sNskRt jiiv, prdiipikeynnu keeshvvrnniyuu knndd ttiikeynnu caavuNddraaynuu rcisiruvreNdu nirnnyisiddru. aadre ii bgege avru kodduv kaarnngllnnellaa vimrshisid aa. nee. upaadhye avru knndd ttiikeyu keeshvvrnniydeNduu adnnnusrisi rcisid sNskRt jii. pr. yu neemicNdrndeNduu 4. 299 --

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saadrpddisidru. keeshvnnnnnu grNthaaNtydlli heelliruv ponnrdi dhuurtjnoopsrgmnishN beNbtte beNbiilldaa nonnrde0 gommttsaarvRttiynidN krnaattvaakyNglliN prnntr dhiidhnruN bhushrutridN nirdi0 budhr dhrmbhuu ssnnbhttttaarkdeevraajnyeyinidN sNpuurnnmN maaddideN || neredu shkaablemiNdu vsu neetr shshiprmitNgllaagi sN dirutireyuN vikaari vtsr caitr vishuddhpkss bhaa surtr pNcmii divsdiNdidu gommttsaarvRttibhaa skrnogedN vineeyjn hRtsrsiijmnulllllrcutN || eNberddu vRttglliNd tillidubruvNte keeshvnnnnnu dhrmbhuussnnbhttttaarkr aadeeshdNte jiivprdiipikeynnu sNpuurnn maaddiruvudaagiyuu, idu shk 1285r vikaari sNvtsrd caitr vishuddh pNcmiyNdu eNdre kri.sh. 1359rlli puurnngoNddiruvudaagiyuu spssttvaagi heelliddaane. allde keeshvnnnnnuprti adhikaard aNtydlliyuu "idu bhgvdrhtprmeeshvr caaru crnnaarviNddvNdv vNdnaanNdit punnypuNjaaymaan shriimdraayraajgurumNddlaacaary sklvidvjjn ckrvrti shriimdbhysuuri siddaaNtckrvrti shriipaadpNkjrjoorNjit llaattpttttN shriikeeshvnnnn vircit gommttsaar krnnaattvRtti jiivtttvprdiipikeyoll'' eNb grNth prshstiyiNdluu idu dRddhpdduttde. keeshvvrnniyu 'gommttsaar'vllde neemicNdrr 'drvysNgrh, amitgtiy sNskRt 'shraavkaacaar' grNthglliguu knndd vyaakhyaangllnnu rcisiddaane. 1850rllidd deevcNdrnu tnn 'raajaavlli kthaasaar'dlli "saartrykke keeshvvryru rcisid vyaakhyaangllu" eNdiruvudu idee keeshvnnnnnnnu kuritu irbhudu. haagaagi iitnige 'saartryveedi' eNb birudu bllkeylliruvudu khcitvaaguttde. idkke puurkvaagi amitgtiy shraavkaacaar vRttiylli prti priccheedd aNtydlliyuu bruv 'iNtu prm jinsmy siddaaNt piiyuussaarnnv vivrdhissnnu kumudbaaNdhv shriimdbhysuuri siddaaNt ckrvrti shriipaadpdmaaraadhknpp saartryveedi keeshnn vircitaamitgti shraavkaacaar vRttiyollu'' eNdu heelliruvudnnu gmnisbhudu. keeshvnnnnn smkaaliinnaagi su. 1350rllidd modlney mNgraajnu taanu rcisid 'khgeeNdrmnnidrpnn'' eNb vissvaidygrNthdlli ( 300 -

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saarN saartrityN maarmdprhrnnekdkssn mtdoll dhaarinniyolloppidNt taartryveediyenisi keeshvvry0 || 1-25 || eNdu keeshvnnnu koNddaaddiddaane. idrlli kNddubruv 'maarmdprhrnnekdkss' eNbudriNd kaamnnnu jyisidvnu eNdu arth bruvudriNd keeshvnnnnnu muniyaagiddne? eNb anumaanvuu uNttaaguttde. illi saartry' eNdre gommttsaar, trilooksaar mttu shraavkaacaar irbhudu. aadre iitnu maaddiruv trilooksaar knndd vyaakhyaan doretiruvudill. neemicNdr si.c.gll trilooksaarkke oNdu knndd vyaakhyaan doretruu (ke 353/1 aagmdrshn hstprti bhNddaar shrvnnbellgoll) idu asmgrvaagiruvudriNd ii ttiikin krtR yaareNbudu khcitvaaguvudill. iitnnnu kelvru keeshvvrnni eNdu kredruu mNgraaj mttu deevcNdr ibbruu 'keeshvvry' eNdu krediddaare. gommttsaardlliyuu keeshv, keeshvnnnn eNb hesrugllu maatr doreyuttve. allde shraavkaacaar vRttiylli 'keeshnn' eNdu heelllaagide. aadudriNd naavu ii grNthdlli 'keeshvnnnn eNb hesrnnee maany maaddiddeeve. hesreenee irli; iitn praakRt mttu sNskRt paaNddity, aagmshaastrdlliruv iitn prinnti, vstuvnnu vimrshisuv saadrpddisuv riiti, adkke bllsiruv lookoottr gnnit iitn arivin elleynnu agaadhgollisuttde; paaNddityd paarmyteynnu siddhpddisuttde. vyaakhyaand svruupvnnu gmnisidaag hllgnndd shailiylli keeshvnnnnn hiriy saadhne siddhigll arivaaguttde. hllgnndd eNdruu idroddne sNskRt pdpuNjgll heerll bllkeyaagiruvudu kNddubruttde. jiivttv prdiipike hesree suucisuvNte jiivnige sNbNdhisid ell mggulugllnnuu teredidduv saahsd prdiipike idaagide. jainaagmd krmsiddhaaNtkke sNbNdhisid vicaar sNkssiptvaagi gaahegll muulk niruupitvaagiruvudnnu vikRtvaagi vishdpddisuvudee vyaakhyaand guriyaagide. ii guriy iiddeerikegaagi aadiylli ativishd boodhnidhi ni rjit ghaatictussttyN prjaajiivitnu nnt vRssbhnaathvdnoo ditvaadudu dhrmtiirthmaadyN dhreyoll || - 301 -

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eNdu aaditiirthNkrriNd modlgoNddu ell ippttunaalku tiirthNkrrnnu stutisuttaane. bhgvaan vRssbhdeevr mukhkmldiNd prkttvaad paavnvcngllnnu grNthsthmaaddiruv eNbttunaalku gnndhrrnnu neneyuttaane. ii ellvnnu kNdpdygll ruupdlli niruupisiruvudu haaguu grNthdlli alllliyee kNd mttu vRttgll rcne maaddiruvudu keeshvnnnnn kvitaashktiynnu toorpddisuttde. aanNtrdlli " shriimdraacmlldeev mhiivllbh mhaamaaty pdviraajmaan rnnrNgmllaashaay praakrmgunnrtnbhuussnn' modlaad visheessnnglliNd caavuNddraaynnnu nenedu 'shriimnneemicNdrsaiddaaNtckrvrti'gllnnu stutisiddaane. grNthdaadiylli mNglaacrnneyiNdaaguv pryoojnvnnu tillisid keeshvnnnnnu gommttsaar grNthdiNdaaguv prtykss haaguu prookss pryoojngllnnu heelluttaane. anNtr raajaadhiptydlliruv hdineNttu shreennigll vivrgllnnu niiddlaagide. muNde "mhaakssaay krm prkRti praagRt prthm siddaaNt jiivsthaan, kssudrkbNdh, bNdhsvaamitv veednaakhNdd, vrgnnaakhNdd, mhaabNdhglleNb" ssttttNddgllnnollgoNdd gommttsaar pNcsNgrhd viskt vivrnneynnu niidduv suucne niidduttaane. muNduvrid keeshvnnnnnu "cturdsh gunnsthaanNglluN, assttaanvti (98) jiivsmaasglluN, ssttpryaaptiglluN, dshpraannNglluN, ctuHsNjnyeglluN, naalku gtimaargnnegllu, aidu iNdriymaargnneglluN, sstt kaaymaargnneglluN, pdinaidu yoogmaargnnegllu, muuttu veedmaargnneglluN, naalku kssaaymaargnneglluN, eNttu jnyaanmaargnneglluN, eellu sNymmaargnneglluN, naalku drshnmaargnneglluN, aaju leeshyaamaargnneglluN, erddu bhvymaargnneglluN, aaju smykke maargnnegllu, erddu sNjnyemaargnneglluN, erddaahaarmaargnnegllu, erddu upyoogNglleNdiNtu jiivpruupnnNglloll ippttu prruupnnegllnnu heelluttaane. prtiyoNdu adhikaardlliyuu mtte upvibhaaggllive. gunnsthaanvoNdrlliyee mithyaadRsstti , saasaadn smygdRsstti, smygmithyaavRsstti, asNyt smygdRsstti modlaad hdinaalku bhaagglllli vistaarvaad vissyniruupnneyide. prmtt gunnsthaandlli jiivnlli odgibruv prmaadgllnnu aNkisNkhyegll muulk vistrisi heelluv riiti annyvaadudu. aNtydlli 'prmaadsNkhyaa visheessmnlliylpdduguN. adeNtene vikthegllu 25, kssaayNgllu 25, iNdriyNgllu 6, nidregllu 5, sneehmoohNgllerddu. ivellmnddrigunnisidodde 37500 prmaadNgllppuvu" (pu.43) eNdu heelluv riiti vishissttteyiNd kuuddide. - 302 -

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ell praakRtgaahegllige anuvaadgoNdd sNskRt shlookgllive. aanNtr knndd vyaakhyaan muNduvriyuttde. sNjnyaapruupnneylli maithunsNjnyaasaamgriy bgege vivrisuttaa, "vRssyrsNgll bhoojn kaamkthaa shrvnnaanubhuut kaamvissyskrnnaadyupyoog kushiilrpp vittkNdrpaadi jnNgll seeve goossttiyiNdmNdii bhirNgkaarnnNglliNdmuN aNtrNgkaarnnmpp strii puN npuNkskveedaanyt mnookssaayoodiirnneyiNdmiNtii cturvidh kaarnnNglliNdN maithunsNjnye puttttuguN" eNdu vivrislaagide. (131) | oNbttney vibhaagd yoogmaargnnprruupnneylli niruupnneyaagiruv styd bgege heelluttaa "jnpddollusNvRtiyollN-smmtiyollN meennusthaapneyollN naamdollN ruupdollu prtiitydollN vyvhaardollN sNbhaavneyollN bhaavdollN upmeyollN iNtu ptteddeyollu sty dshvidhmkkuN' (178) eNdu heelli oNdoNdkkuu udaahrnne niiddlaagide. keeshvnnnnnu jnpdstyd vivrnneynnu "jnpdNgllolllliy vyvrhjnNgll ruuddhmttaavudoNdu vcnmdu jnpdstyN" eNdu heelli muNduvridu "eNtiigllu mhaaraassttdollu bhaatu bheettu, aaNdhrdeeshdollu vttiksu kuuddu (vNttmu kuuddu), krnnaattk deeshdollu kuullu, drvidddeeshdollu coottu iNtii hiNge ruuddhmdu sNvRtistyNsmmtistyN' (178) eNdu niruupisiruvudrlli vyaakhyaankaarr vissyjnyaanvnnuu unnt niruupnneynnuu mngaannbhudu. hiigeyee ullid sthaapnaadi styglliguu vistrt vivrnneynnuu vissyspssttteynnuu niiddlaagide. bhaassey bgege vivrnne niidduv mttoNdu sNdrbhvnnu gmnisbhudu. 'ubhy vcnbheedNgllnnu heellutteene eNdu "aagcch bhoo deevdtt ityaadaahvaan bhaasse aamNtrnnii eNbudu. idN maaddu eNbudu modlaad kaaryniyoojn bhaasse aajnyaapne eNbudu. idnenge koddu eNbudu modlaad praarthnaabhaasse yaacnii eNbudu. eenideNbudu modlaadudu prshnebhaasse appcnii eNbudu. eegeyyneNbudu modlaad vijnyaapnbhaasse prjnyaapne eNbudu. idu vrjisuveneNbudu modlaad prihrnnbhaasse prtyaakhyaani eNbudu. idu blaakeyo ptaakeyo eNbudu modlaadsNdeehbhaasse sNshyvcni eNbudu. aNtkkumeNbudu modlaad icchaanuvRtti bhaasse icchaanuloomvcni eNbudu. oNdu c shbdN smuccyaarthvoNdu crm c shbdmukt smuccyaarthN' (179-80) eNdu aamNtrnni aajnyaapne yaacni aappccni prjnyaapne prtyaakhyaani sNshyvcni vcni c ivugll arthvivrnneynnu udaahrnnegll muulk spssttpddisiruvudu - 303 -

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bhaassey bgege ttiikaakaarru hoNdiruv spsstt tilluvllikeyaagide. illi vissy niruupnnege bllslaagiruv visheessgnnit oodugrnnu accrigollisuttde. "illigupyoogiypp lookoottr gnnitN pribhaasseyN peellveN" (97) eNdiruvNte idu alaukik gnnitvaagide. idrlli alaukik jnyaand neleyide; saamaanyrige tilliyuv saadhyte illveNdee heellbeekaagide. ii lekkaacaarglllli bllsiruv kuNdd, suuciivyaas, lkss, kissttu, dNdd, ghnphl, saivlli, grt, ghtt, vyaasoodh, suutroopdisstt modlaad hlvaaru vishisstt pdgll pryoogvnnu kaannutteeve. "mukhN 1 bhuumi 19 joog 40 dlle 30 pdgunnide 10/19 pddhnN bhvti 190" eNbNth lekkgllu yaavudee tttvvnnu vivrisuvlli vissyvnnu niruupisuvlli bllkeyaagiruttve. baadrnigoodshriirgll prtipaadneynnu maadduvlli prtyeek raashikkrmdiNdN lbdNgllsNkhyaat look gunnaakaarNgllumttuvvj vinyaasvidu skNdhNg jNbuudviipaadigllu dRssttaaNtmNddrNglle bhrtaadi ksseetrNgllu dRssttaaNtmaavaasNgkke kooslaadi deeshNgllu dRssttaaNtN, pullviglle saakeetaadi ngrNgllu dRssttaaNtN, baadr nigood shriirNg tt saakeetaadi ngrNgllu gRhNgllu dRssttaaNtN vaa shbdmivaarthmii peell dRssttaaNtmeNtNteynyNgllu dRssttaaNtNgllu nddeslpdduvudu' (162) eNdu vivrisuvlli tooriruv aallvaad abhyaasd arivaaguttde. iNth hlvaaru lekkgllnnu grNthduddkkuu kaannbhudaagide. illi vissyniruupnnege shaaykvaagi alaukik gnnitd jtege 'kaavttikstN kaavttiyollittttu bhaarmN koNddu [poopNte)...bhvyjiivnuN lbbiyiNdN dorekoNdd smygdrshnaadi saamgrisNpnnnpp tttvjnyaani shriirkaavttiyollu tiivirdu' (166) 'rtnprvtd shikhrdttnniNdN mithyaatvprinnaamveNb bhuumyaabhimukhnennevrmNtraall kaaldollu eeksmymaadiyaagi ssddaavlikaalpryNtN' (31) 'niNbkaaNjiirsdRshde' (51) 'jvritnppvNge mdhurkssiiraadi rsN n rooctee sogsdNte (30) eNbNth upmaangll bllkeyaagide. allde 'annukddddipdeenn hidee pcyee pcyNtu hoodi tericche (46) 'cydnnhiinnN dN pdbhjidee hoodi aadiprimaannN' (46) eNbivee modlaad suutrgllnnuu 'dhnsy RnnN raashiiynnN bhvti' (47) 'aadyNt sdRshN raashikN mdhynaam bhveet' (38) modlaad nyaaygllnnuu 'aahaarvishissttaannaado sNjnyaa vaaNchaa aahaarsNjnyaa' (130) eNbNth niruktigllnnuu vissyniruupnnege shkaariyaagi heelllaagide. hiige vivrnneynnu niidduvlli aneek apuurv pdpryooggllu kNddubruttve. saamaany gnnitshaastrdlli ruuddhiylliruv gunnaakaar bhaaghaar krmyoojne ksseetrphl vrg sNvrg eNb - 304 -

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saamaany pdgllllde gcch dhn cuurnni prksseep jy aavli tirykssde tirygrbh mukh bhuumi joog dll pdgunnide pddhn modlaad visheess pdgllnnu ttNkislaagide. illi upyoogisiruv gnnit cihnegll bgeguu naavu vissyvnnu spssttvaagi tillidukollllbeekaaguttde. ii elldr vivrvaad abhyaas saadhyvaagbeekaadre atyNt ktthinn prishrm aavshykvaaguttde. saamaanyrige ktthinnvaagi tooruv ii ellaa vivrgllu visheess tjnyrige sullitvaagirbhudu. ii bgege vivrnneynnu bhaartiiy jnyaanpiitthdiNd prkaashitvaagiruv krmkaaNddd erddney sNputtd aNtydlli 'gommttsaar grNthkii gnnitaatmk prnnaali' eNb vibhaagdlli niiddlaagide. idnnu visheesstjnyru prishiilisbhudu. ddemai 1/8r allteylli erdduuvre saavir puttgllssttaaguv gommttsaard knndd vyaakhyaanvu jainsiddhaaNtgll aagrvaagide, abhysisidssttuu agaadh prmaannd vstugllu goocrisuttve. illi ttiikaakaarr visheess paaNddity prtibhegll smmillnteyide. idu oNdu amuuly jain siddaaNt grNthvaagiddu jainsmudaaykke, aNteyee vishvtttv grNthgll tulnaatmk abhyaasdlli nirtraadvrige bttd seleyaagi niNtide. idu knndd saahitykke oNdu visheess koddugeyaagide ennuvudnnu tttv grNthgll aaNtryvnnu aritNthvraaruu allglleylaarru eNdu bhaavisiddeene. iNth oNdu mhtvd kRtiynnu prkaashpddisid shrvnnbellgolld baahubli praakRt vidyaapiitthd adhykssraad puujy krmyoogi svstishrii caarukiirti bhttttaark mhaasvaamiiji avrige anNt prnnaamgllnnrpisutteene. 10 1. raajaavllii kthaasaar : sN. bi.es. snnnnyy, 2002. pu. 272 2. sN. bi.es. snnnnyy, knndd saahity prissttu, beNglluuru-18. 2004 -0-0-0 - 305

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(Organizing Institutions 1. RASHTRIYA SANSKRIT SANSTHAN (DEEMED UNIVERSITY) UNDER MINISTRY OF HUMAN RESOURCE DEVELOPMENT GOVT. OF INDIA, NEW DELHI Vice Chancellor : Prof. Radhavallabh Tripathi President: Shri Kapil Sibal Minister of Human Resource Development, Govt. of India The Government of India in pursuance of the recommendations of the Sanskrit Commission (1956-1957), established the Rashtriya Sanskrit Sansthan on 15th October, 1970 as an autonomous organization for the purpose of implementing the policies and programmes of the Central Government for the development, propagation and promotion of Sanskrit. The Ministry of Human Resource Development, Govt. of India has declared it as Deemed University on 7th May, 2002. Rashtriya Sanskrit Sansthan is the biggest institute on amongst the Sanskrit Universities, it is the only multi campuses Sanskrit University. The objectives of the Rashtriya Sanskrit Sansthan, as has been declared in "Memorandum of Association", Some of those are as under: OBJECTIVES The objectives for which the institute is established are to propagate, develop and encourage traditional Sanskrit learning, research and in pursuance thereof: i. To undertake, aid, promote, co-ordinate research in all branches of Sanskrit learning including teachers training and manuscriptology, to bring out inter-linkage with the outcome of modern research in the contextually relevant fields and to bring out publications. - 306 -

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ii. To establish, take over and administer Campuses in the various parts of the country and to associate with any other institutions with similar objectives. iii. To serve as a Central administrative machinery for the management of all the Campuses established or taken over and to provide effective co-ordination in their academic work in order to facilitate the interchangeability and migration of staffs, students and research scholars and national division of work amongst the Vidyapeethas in specialized fields. ix. To promote development of Pali and Prakrit languages. STRUCTURE The Rashtriya Sanskrit Sansthan is governed by the followings : President Board of Management Academic Council Planning and Monitoring Board Finance Committee Minister of Human Resource Development, Govt. of India is the ex-officio President of the Institution. The Board of Management is the policy making body. The Vice-Chancellor of the Rashtriya Sanskrit Sansthan who is the Chairman of the Board of Management, is the Principal Executive and Academic officer of the Sansthan. At present, apart from its Head Quarter at Delhi, the Rashtriya Sanskrit Sansthan, New Delhi, has ten other campuses all over India. The Sansthan Headquarters has various sections such as Academic, Research & Publication, Correspondence Course & Non-formal Sanskrit Education, Muktasvadhyayapeetham (Centre for Distant Learning), Examination, Scheme, Administration and Finance etc. - 307 -

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ACTIVITIES OF THE SANSTHAN The Sansthan is making constant efforts for fulfilment of its prescribed objectives through the various activities :1. TEACHING: 2. TEACHERS' TRAINING (B.Ed.): RESEARCH: PUBLICATIONS: The Sansthan publishes various series of books from time-to-time. The following series of books of the Sansthan have been initiated so far : Rajat Jayanti Granthmala (Silver Jubilee Series) Swatantra Bharat Swarn Jayanti Granthmala (Golden Jubilee Series) Sanskrit Varsh Smriti Granthmala Classical literature and Re-print of rare books Lokapriya Granthmala/Shastriya Granthmala * Pali/Prakrit Adhyayan Series 5. COLLECTION AND PRESERVATION OF SANSKRIT MANUSCRIPTS: 6. TEACHING SANSKRIT THROUGH DISTANCE EDUCATION, CORRESPONDENCE AND NON - FORMAL MODE, TEACHERS' TRAINING AND PRODUCTION OF SELF STUDY MATERIALS. PROPAGATION OF SANSKRITEDUCATION THROUGHELECTRONIC MEDIA: DEVELOPMENT OF CURRICULUM FOR TRADITIONAL SANSKRIT TEACHING: EXAMINATION:(a) The Sansthan conducts the examination and confers certificates/degrees for all its courses run by its campuses and affiliated institutions. - 308 -

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10. ESTABLISHMENT OF CAMPUSES: The Sansthan establishes its campuses and takes over Sanskrit Institutions and converts them as its campuses in the different states of the country for traditional Sanskrit teaching. The Sansthan has ten constituent campuses at present in addition to the one at Delhi. 11. SCHOLARSHIPS: The Sansthan awards scholarships to meritorious students of Sanskrit/pali/prakrit related to constituent campuses and other institutions throughout the country. 12. SCHEMES OF THE CENTRAL GOVERNMENT: The Sansthan is implementing various schemes initiated by the Ministry of Human Resource Development, Government of India for promotion and propagation of Sanskrit/pali/prakrit language and literature. 13. COLLABORATION AT INTERNATIONAL LEVEL: In collaboration with National/International Associations, the Sansthan organises Sanskrit conferences at National/International levels. In this context, it is worth mentioning that the Sansthan organised the FIRST world Sanskrit conference at New Delhi in the year 1972; Fifth world Sanskrit conference at Varanasi in the year 1981. The 10th World Sanskrit Conference was organised at Bangalore from Jan 3-9, 1997. The 15th World Sanskrit Conference will be held in India under the auspices of Sansthan in the year 2012. Sansthan has sponsored Shastracharcha and Kavi Sammelan in 13th and 14th World Sanskrit Conferences. Sanskrit Drama has also presented in 14th World Sanskrit Conference. Sansthan has collaborations with SARIT (London) and ECAF (Paris). 14. PROJECT ON DICTIONARY OF SANSKRIT AND INDIAN DIALECTS AND SUB-DIALECTS: 15. NATIONAL e-DATA BANK OF SANSKRIT LITERATURE: 309

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16. INTER CAMPUS YOUTH FESTIVAL: 17. ALL INDIA SANSKRIT KAVI SAMMELAN:Sansthan organizes All India Sanskrit Kavi Sammelan namely 'Kavi Bhaskari" every year. 18. AKHIL BHARATIYA SANSKRIT NATYOMAHOTSAVA: Sansthan organizes the first Natyotsava at Bharat Bhavan in which three days seminar was also held on perspectives in Natyashastra and Sanskrit theatric. 19. KAUMUDI MAHOTSAVA: Kaumudi Mahotsava is Inter Campus Sanskrit Drama Festival of Sansthan. It is also organized every year. So far more than 63 Sanskrit plays in original have been presented in this programme. 20. SANSKRIT SAPTAHOTSAVA: A week long programme is organized on the occasion of Shravani Purnima, in which Vidwatsaparya, Kavisaparya, Sanskrit Competitions etc. are organized. 21. SANSKRIT SAMMELANAT NER: Sanskrit Sammelan is being organized at North East Region from 2009. Sansthan has decided to organized a conference in one of the provinces in NER every year. 22. PROMOTION OF PRAKRIT: Prakrit Sammelan is being organized from 2009 for the promotion of "Prakrit". Sansthan organizes National/ International seminars for promotion of Prakrit. Publication of rare texts will also be under taken. 23. PROMOTION OF PALI: Sansthan organizes National/International seminars for promotion of Pali. In addition to this, Junior and Senior fellowships are also being given in Pali and Prakrit. 24. INSTITUTION OF SPECIAL LECTURE SERIES: The Rashtriya Sanskrit Sansthan has instituted the following Memorial Lectures in the Memory of some great personalities. These Lectures will be organized annually in different venues. 310

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25. SPECIAL DRIVE FOR COLLECTION AND DIGITIZATION OF MANUSCRIPTS: 26. PUBLICATION OF SANSKRIT VARTA QUARTERLY NEWS BULLETIN : From the year 2008 Sansthan has taken up the publication of a quarterly news bulletin Sanskrit Varta. The periodical has provided a viable platform for inter campus dialogue and interaction between the members of Sanskrit Community all over India. For further information may be contact at the following address : The Registrar RASHTRIYA SANSKRIT SANSTHAN (Deemed University) Under Ministry of Human Resource Development, Govt. of India 56-57, Institutional Area Janakpuri, New Delhi-110058 E-PABX: 011-28524993, 28521994 Website - www.sanskrit.nic.in E-mail rsks @nda.vsnl.net.in -0-0-0 311

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2. Bahubali Prakrit Vidyapeeth (R.), Shravanabelagola A) Heritage : Shravanabelagola nestles between the twin hills of Chandragiri and Vindyagiri. It is not only a holy place for the Jains, but a national treasure populated with shrines and temples of remarkable beauty and stand testimony of ancient and medieval India's splendour in sculpture and architecture. Lord Bahubali's monolithic statute, carved out of a single rock, has been showing his benediction, message of peace and nonviolence over the last thousand years. The great shramana saint Acharya Shrutakevali Bhadrabahu came to the small hill chandragiri at Shravanabelagola in the beginning of third century B.C. The Bhadrabahu cave at the small hill has remained a witness of his literary contribution and penance. Siddhanta Charukeerthy Nemichandracharya, the guru of King Chavundaraya, composed many works in Prakrit Language at Shravanabelagola in the 10th Century A.D. So this holy place was the seat of learning, penance and promoting Prakrit studies since ancient time. Establishment : The divine preaching of Bhagawan Mahaveera preserved in Prakrit, which was the language of the people and state language too of kings Ashoka and Kharabela and others in ancient time. Religious literature that deals with subjects like Ahimsa, Aparigraha and Anekantavada and works on epics, narratives, sculpture, vastu, ayurveda, astronomy, mathematics, geography and so on abound in Prakrit language. So it was decided by Pujya Swamiji to establish a national level institute for promotion of Prakrit in the ancient seat of Prakrit in this town Shravanabelagola. The first National level Prakrit conference was organised on 8th to 10th December in 1990 at Bangalore under the guidance of Pujya Swamiji and under the Directorship of Dr. Prem Suman Jain to fulfil the recommendation of this Prakrit conference a National Institute of Prakrit Studies and Research was established in the year 1991 at Shravanabelagola. - 312 -

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Paramapujya Jagadguru Karmayogi Swasthishri Charukeerthy Bhattaraka Swamiji has continued his efforts in furthering the study of Prakrit in the south India. So he had also established Prakrit Jnana Bharati Education Trust in 1992. This trust has organized the second National Prakrit Conference in Hyderabad on 15th to 17th June in 1993 under the directorship of Prof. Prem Suman Jain. Eminent Prakrit Scholars of India have been awarded in these two Prakrit conference by the trust at Bangalore and Hyderabad. B) Governing Trusts : Shrutakevali Education Trust This National Institute of Prakrit Studies and Research, Shravanabelagola was being Governed by the Shrutakevali Education Trust (R.) with the financial support from the Government of Karnataka since 1993 to 2007. Emeritus Professor Dr. Prem Suman Jain, renowned scholar of Prakrit and Jainism has joined as Director and Professor of this Institute on 15th December 2006. The Institute is growing in various fields of learning and research under his leadership. Bahubali Prakrit Vidyapeeth Trust Shrutakevali Education Trust (R.) has submitted the proposal to the ministry of HRD New Delhi and UGC, New Delhi in October 2006 for granting the University Status and to recognise our Institute as Deemed to be University in the name of Bahubali Prakrit University, Shravanabelagola. As per the U.G.C. guidelines the institute has prepared the trust deed in the name and style of proposed deemed to be University that is - 'Bahubali Prakrit Vidyapeeth' and registered it under the public trust in Dist. Hassan on 31-03-2008. Now this 'Bahubali Prakrit Vidyapeeth Trust, Shravanabelagola is running all the teaching & research activities of our Institution. Shrutakevali Education Trust (R), has provided the ownership of movable and immovable assets to the Bahubali Prakrit Vidyapeeth with the - 313

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corpus fund of Rs 3 corers in F.D. for running the present activities of the Institute and proposed Bahubali Prakrit University. Fifteen years old National Institute of Prakrit Studies and Research (NIPSAR) is working as Teaching and Research Centre under the Bahubali Prakrit Vidyapeeth registered Trust. This Bahubali Prakrit Vidyapeeth Trust has embodied all the rules and memorandum of aims and objectives of the University prescribe by the U.G.C. in its guidelines. This Bahubali Prakrit Vidyapeeth institute situated at Dhavala Teertham, Shravanabelagola which is an ideal place for pursuing higher studies in all the subjects related to Prakrit language and literature, comparative study of Sanskrit, Pali, Apabhramsa, Kannada and other Indian languages, Comparative Philosophies, religions and Ethics, Art, Archeology and inscriptions, Manuscript-tology, Peace research, science of living and yoga and Meditation with simple living and high thinking in greenery environment near the holy place of Shravanabelagola. C) Aims and Objectives : Some of he objectives, for which the Institute Bahubali Prakrit Vidyapeeth is established and registered, are :(i) To provide for instruction and training in such branches of learning as it may deem with special dedication to the study of Prakrit and Jainological studies and to cultivate and practice high ideals of nonviolence, Truth, Anekant, Peaceful coexistence with non-attachment for the welfare of humanity at universal level. (ii) To provide for research and for the advancement of and dissemination of knowledge especially in Prakrit and Jainological studies. (iii)To undertake extra mural studies, extension programmes and filed outreach activities to contribute to the development of society. (iv) To provide for Instruction, Training, Research, Extension and Experimentation through, Post Graduate, Master's (or equivalent) and Ph.D and - 314 -

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(0) other courses at research levels in the various branches of oriental learning and in the subjects of the need of the day including in Prakrit and Jainological studies. To provide for dissemination of knowledge and extension activities in the Indian Languages and Literature, Prakrit, Pali, Sanskrit and Apabhramasha Kannada, Hindi etc., also for the advancement of Philosophy, Jainology, Religion, Ethics, Astronomy, Astrology, Mathematics, Mantravidya, Yoga and Sadhana, Ayurveda, Naturopathy and Psycho Therapy, Epigraphy, Paleography, Jeewan Vigyan and Meditation and the fundamental principles of Shramana Culture and such other related and ancillary or supplementary subjects of the Indian Culture. (vi) To establish Colleges, Vidya Peetha, Universities, campuses of study, branches and research centres in different parts of India as may be required for the Jain monks, nuns, students and scholars for the study of Prakrit Jainology and Indology for example - (a) To establish Bahubali Prakrit University or to obtain the status of Deemed to be University to BPV at Shravanabelagola. (b) To establish Bahubali College of Indology for the various departments of the University at Shravanabelagola (c) To run a research centre in the name of National Institute of Prakrit Studies and Research at Shravanabelagola. (vii) To encourage students of higher education in critical study of the above-mentioned and related disciplines and to equip them with an analytical outlook to discover the elements of social sciences in the various disciplines. (xvi) To provide facilities for such other works and activities which will fulfill and promote the objectives of the Institute and are for the development of the Institute. -0-0-0 (-315

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3. National Institute of Prakrit Studies and Research (NIPSAR), Shravanabelagola A) Establishment / Background a) His Holiness Jagadguru Karmayogi Swasthishri Charukeerthy Bhattaraka Mahaswamiji, Shravanabelagola had inspired to National level Prakrit scholars in 1990 to meet one place and to think regarding the development of Prakrit Language and Literature. With the effect of this academic appeal of His Holiness Swamiji the first National Prakrit Conferences was organized at Bangalore in December 1990 under the Executive Directorship of Dr. Prem Suman Jain, Udaipur and convenership of Prof. Hampa Nagarajaiah, Bangalore. On the one of the recommendation of this National Prakrit Conference His Holiness Swamiji had submitted one memorandum on 12th March 1992 regarding establishment 'Prakrit Study cum Research Centre at Shravanabelagola on the occasion of the Mahamasthakabhisheka (1993). This memorandum was sent to the under Secretary Revenue Dept. of Govt. of Karnataka. b) Shri G. Puttaswamigowda, Chairman of the state level committee for the Mahamasthakabhisheka Festival (1993) had referred to this memorandum of His Holiness Swamiji in the meeting of the committee held on 13-05-1992 in the conference hall of the M.S. Building in Bangalore and in the item No. 9 (3) the committee agreed to the proposal of His Holiness Swamiji and asked to the Revenue Secretary to examine it in detail and take further action to establish Prakrit Study cum Research Centre with an investment amount of Rs. 50 lacs for this purpose. c) Shri S. Somanath, Deputy Secretary to Govt. Revenue Dept. (M) and Secretary of the Committee had sent the proceedings of the meeting of 13-05-1992 to concern persons by his letter of 19-05-1992 for information and urgent necessary action. - 316 -

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d) The office of the Commissioner for Endowments in Karnataka, Bangalore had sent a letter to the Secretary II to Govt. of Karnataka Revenue Dept., Bangalore on 24-06-1992 with full detail for setting-up of an National Institute of Prakrit Studies and Research at Shravanabelagola, under the management of Shrutakevali Education Trust (R.), Shravanabelagola. The Trust Deeds of S.E.T., the first Board of Directors and the implementation and objectives of the project were given in this letter. e) Shri D. Channarudraiah, Under Secretary to Govt. Revenue Dept. (Muzarai), after considering the letter of 12-03-1992 of His Holiness Swamiji and letter of 24-06-1992 of the Endowment Commissioner had sent sanction letter of financial assistance of Rs. 50 lacs on 31-10-1992 for setting the National Institute of Prakrit Studies and Research in Shravanabelagola. f) The Endowment Commission Dept. of Govt. of Karnataka had sent the D.D. of 10 lacs as recurring grant for the NIPSAR on 08-04-1994 and the same Dept. had sent a cheque of Rs. 50 lacs as per it financial sanction of 31-10-1992. g) The first meeting of the first Board of Directors was held on 9th April 1993 in the S.P. Guest House, Shravanabelagola under the Chairmanship of His Holiness Jagadguru Karmayogi Swasthishri Charukeerthy Bhattaraka Mahaswamiji, Chairman of Shrutakevali Education Trust (R.). In the proceedings of this meeting major decision have been taken regarding the National Institute of Prakrit Studies and Research, Shravanabelagola such as: 1. Construction of the NIPSAR Building. 2. Starting of the Institute during 1993-94. 3. Starting the teaching of Certificate course in Prakrit. 4. Publishing the Text Book for Prakrit Teaching. 5. For appointment of Director and other staff of NIPSAR. 6. Publication of the NIPSAR. 7. Budget of the NIPSAR. - 317 -

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B) Foundation of Prakrit Bhavan Building. The main building of National Institute of Prakrit Studies and Research constructed with the financial support of the Govt. of Karnataka and Shrutakevali Education Trust, Shravanabelagola. Dr. Shankar Dayal Sharma, the then President of India, inaugurated the 'Prakrit Bhavan' and the institution NIPSAR in 1993. The text of the foundation stone is as under. C) Aims and objectives : It shall be the aim of the Institute to open in Shravanabelagola and other places schools and colleges, institutions for imparting technical education, cultural education and agricultural education, training centers, colleges in medicine, development of technology institutes for development of Prakrit, Apabhramsa, Sanskrit, Kannada and other Indian languages and literature shall also be opened measures for the Social, Literary, economic and religious improvement shall also be undertaken through appropriate schools and colleges, University. Any Institution originally started for the development of such things and now become sick for any reason and are not run properly shall be taken over by the Institute. The Institute is solely a research and educational Institution dedicated to the study of Prakrit and Jainological studies and to cultivate and practice high ideals of Nonviolence, Truth, Anekanth, Peaceful, Coexistence and Non-attachment for the welfare of humanity on Universal level. -0-0-0 - 318 -

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Our Contributors (A) Invited Foreign Scholars Delegates 1. Prof.Adelheid Mette University of Munich, Munich, Germany. mette@lrz.uni-muenchen.de 8. Eva De Clercq, Dept of Indology University of Gent Blandijnberg 2-146 9000 Gent, Belgium evadeclercq@gmail.com 2. Prof.Nalini Balbir University of Paris Paris, France Nalini.balbir@wanadoo.fr 9. Dr.Stefan Anacker Rue Des Baiches ! 2900, Porrentruy Switzerland 3. Dr.Peter Flugel, Dept of Study of Religions, SOAS, University of London Thornhaugh Street, Russel square, LONDON WCIH OXG Pf8@soas.ac.uk 10. Dr. Andrea Luithle-Hardenberg, Institute of Asian and Oriental studies Dept. of Indology and Comparative Religion University of Tuebingen Tuebingen, Germany 4. Dr.Mr & Ms Jayandra Soni Dept of Indology & Tibetology University of Marburg MARBURG, Germany sonil@staff.uni-marburg.de 11. Ms.Claire Maes Raketstraat 76, 9000 Gent. Belgium Phone: 0032 476 516 555 Claire. Maes@Ugent.be 5. Dr. Luitgard Soni University of Marburg Sprechwissnenschaff Wihelmi-Repke-StraBe 16 C.D. 35032 MARBURG, Germany 12. Prof. Jonardon Ganeri , Dept of Philosophy Liverpool University, Abercromby Square Liverpool, UK iganeri@sussex.ac.uk 6. Prof. Johannes Bronkhorst, Dept of Oriental Languages & Cultures University of Laussane BFSH2, CH-1015 Lausanne, Switzerland johanes. Bronkhorst@unil.ch 13. Dr. Yumi Fuzimoto Japan fu 727@hotmail.co.jp 7. Prof.Frank Van Den Bossche Dept. Languages & Cultures of South & East Asia University of Gent, Gent, Belgium frank. Van Den Bossche@ugent.be 14. Dr. Diwakar Acharya Kyoto University Yoshida Honmachi Sakyo-ku, Kyoto Japan acharyadiwakar@gmail.com - 319

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15. Prof. Robert Zydenbos Institute for Indology & Iranistik University of Munchen Munich Germany zydenbos @ web.de 18. Dr. Hermann Tieken University of Leiden Institute Kern, Dept. of Indology Nonnensteeg 1-3, Postbus 9515 2300 RA Leiden Netherlands H.J.H. Tieken@hum.leidenuniv.nl 16. Dr. Eva Maria Glasbrenner University of Munich Munich, Germany evaglasbrenner@yahoo.ca 19. Prof. Marcus Banks Institute of Social - Cultural Anthropology 51, Banbury Road, Oxford UK marcus.banks@anthro.ox.ac.uk 17. Prof. Dr. Christoph Emmerich Dept. & Centre for Study of Religion University of Toronto, Erindale Room 123 St. George Street Torronto ON M5S2E8 Canada 20. Hawon Ku Seoul National University South Korea (B) Prakrit Scholars from India 1. Prof. Daya Nand Bhargava C/o Shri Anant Bhargava G 1 Paradise Apartment Durgamarg, Banipartk Jaipur - 302 001. 6. Dr. Anupam Jain Editor - Arhat Vachan D-14, Sudama Nagar, Indore - 452 009. 2. Prof. Rajaram Jain B/5-40 C, Sector 34, Dhavalagiri Apartments Po - Noida - 201 307. (U.P.) 7. Prof. Hampa Nagarajaiah #1079, 5th Bolck, 66th Cross, 18th 'A'Main, Rajajinagar, Bangalore - 560 010. 3. Prof. M.R. Gelra Former Vice-Chancellor Jain Vishva Bharati 5-Ch. 20, Jawahar Nagar, Jaipur - 302 004. 8. Prof. Kamala Hampana #1079, 5th Bolck, 66th Cross, 18th 'A' Main, Rajajinagar, Bangalore - 560 010. 4. Prof. Prem Suman Jain 29, Vidyavihar Colony, Sunderwas (North), Udaipur- 313 001. 9. Dr. M.A.Jayachandra #317, "Dhavalashri" 7th B Main, 3rd 'A' Cross, 1st Block, Kalyana Nagar, Bangalore - 560 043. 5. Samani Prof. Dr. Mangalprajnaji Vice-Chancellor Jaina Vishva Bharti University, Ladnun - 341 306. 10. Dr. S.P. Patil, 'Vaishali' #5, Ghevare Plots, Samaratha Chowk, South Shivaji Nagar, Sangli - 416 416. - 320 -

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11. Prof. Padmashekhara Chairperson Dept. of Studies in Jainology & Prakrits University of Mysore, Manasagangothri, Mysore - 570 006. 20. Dr. Rajesh Sachdeva Director Central Institute of Indian Languages Manasagangotri Mysore - 570 006. 21. Prof. Sagarmal Jain Director, Prachya Vidya Shodh Sansthan Shajapur (M.P.) 12. Prof. R.P. Poddar General Editor Prakrit English Dictionary Project Bhandarkar Oriental Research Institute Pune - 4 22. Prof. Vijay Kumar Jain Dept. of Buddhist & Pali Rashtriya Sanskrit Sansthan Vikas Khand, Gomti Nagar Lucknow (U.P.) 13. Dr. Geeta Mehta Director, K.J. Somaiya Centre for Studies in Jainism Management Institute Building II Floor, Cabin No.6 Somaya Vidyavihar Campus Mumbai - 400 077. 23. Prof. Shreyans Kumar Jain Dept. of Jain Darshan Rashtriya Sanskrit Sansthan Triveni Nagar Jaipur (Raj.) 14. Dr. J.B. Shah Director, L.D. Institute of Indology Near Bus Stop, Gujrat University Ahmedabad - 9 24. Dr. Anekant Jain Dept. of Jain Darshan L.B.S. Sanskrit Vidyapeeth Katwaria Sarai New Delhi - 110 016. 15. Shri Shubhchandra 492, Chitrabhanu Road, Kuvempu Nagar, Mysore - 6 25. Dr. Dharmendra Jain Prakrit Studies Centre Rashtriya Sanskrit Sansthan Triveni Nagar Jaipur (Raj.) 16. Dr. N. Suresh Kumar Dept. of Studies in Jainology & Prakrits University of Mysore Manasagangothri, Mysore - 6 17. Dr. Kalpana Jain Dept. of Prakrit Languages L.B.S. Sanskrit Vidyapeeth Katwarnia Sarai, New Delhi - 110 016. 26. Dr. Rajneesh Shukla S.R.F. Prakrit Rashtriya Sanskrit Sansthan 55-56, Institutional Area Janakpuri New Delhi - 110 058. 18. Prof. Dr. Nalini Joshi H.H. Jain Chair University of Pune Pune - 411 007. 27. Dr. Amrith Mala S.N. Mard Clinic Aliyus Valpady - 574 236 Mangalore Dist. 19. Prof. Dr. S.R. Benerjee AD 224, Salt Lakecity Sector No.1 Kolkata - 700 064. 28. Dr. Balaji Garodkar Director B.L. Institute of Indology Alipur Road, 20th KM Delhi - 321 -

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29. Dr. Kokila Shah Dept. of Philosophy University of Bombay Mumbai 39. Prof. J.R. Bhattacharya Dept. of Sanskrit-Prakrit Jaina Vishva Bharti University Ladnun - 341 306. 30. Dr. B.Y. Lalithamba 1304, Ist 'C' Main, 2nd Stage 9 th Block, Nagarbhavi Bangalore - 560 072 40. Dr. Udaichand Jain 3, Piu Kunj, Near Jain Sthanak Udaipur - 313001. 31. Mr. Manish Modi Hindi Granth Karyala C.P. Tank, Heerabag Mumbai 41. Dr. Jaya Kumar Upadhye Dept. of Prakrit Languages L.B.S. Sanskrit Vidyapeeth, Katwaria Saray New Delhi - 110 016. 32. Prof. Dr. M.N.P. Tiwari Dept. of Archeology Banaras Hindu University Varanasi - 5 42. Prof. Dharm Chand Jain Dept. of Sanskrit, JN Vyas University Jodhpur (Raj.) 33. Dr. Navneet Kumar Jain SOS in A.I.H.C.R. Archeology Jiwaji University Gwalior - 474 011. 43. Prof. Dr. Nalin K. Shastri Dept. of Botani, Magadh University Bodhgaya (Bihar) 44. Dr. Vimal Anil Bafna S. 80/Z P-6, Neel Heights Baner Road Aundh Pune - 411 007. 34. Dr. R. Gopal Director Directorate of Archeology and Museum, Exhibition Ground Mysore - 570 001. 45. Prof.B.S. Sannaiah H.O.D. - Manuscripts Dept. National Institute of Prakrit Studies and Research Shravanabelagola - 573 135 35. Dr. Samani Ritu Pragya Dept. of Jainology, Jaina Vishva Bharati University Ladnun - 341 306. 36. Dr. Samani Ramaniya Pragya Dept. of Jainology, Jaina Vishva Bharati University Ladnun - 341 306. 46. Dr. Mrs. Saroj Jain H.O.D. - Prakrit - Hindi National Institute of Prakrit Studies and Research Shravanabelagola - 573 135 37. Dr. Samani Chaitya Pragya Dept. of Jainology, Jaina Vishva Bharati University Ladnun - 341 306. 47. Dr. M.S. Padma Dept. of Jainology and Prakrits Mysore University Mysore 38. Dr. Tara Daga Prakrit Bharti Academy 13-A Main, Malviya Nagar Jaipur - 302 017 48. Dr. Padmavati Dept. of Jainology and Prakrits Mysore University Mysore - 322 -

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49. Dr. Jwala Suresh Kumar C/o Dr. N. Suresh Kumar Dept. of Studies in Jainology & Prakrits University of Mysore Manasagangothri, Mysore - 6 54. Dr. M.P. Rajendra Kumar Prakrit Exam Dept. National Institute of Prakrit Studies and Research Shravanabelagola - 573 135 50. Prof. N. Devendra Kumar Shri Brahmadeva Nilaya, Vasu Layout, K-Block, Ramkrishna Nagar, Mysore 55. Dr. M.P. Siddarth Research Assistant National Institute of Prakrit Studies and Research Shravanabelagola - 573 135 56. Shri S.N.Ashok Kumar Editor 'Gommatavani' Shravanabelagola - 573 135 51. Prof. Jeevendra Kumar Hotepete Clo Dr. N. Suresh Kumar Dept. of Studies in Jainology & Prakrits University of Mysore Manasagangothri, Mysore - 6 Mysore 57. Dr. T.R. Jodatti National Institute of Prakrit Studies and Research Shravanabelagola - 573 135 52. Dr. Umanath Shenai H.O.D. - History Dept. S.D.M. College, Ujire (Karnataka) 58. Tejaswini Jangda 1/1-1, Atria Towers, Palace road, Bangalore-560001. 53. Dr. C.P. Kusuma Convener - Prakrit Exam (Kannada) National Institute of Prakrit Studies and Research Shravanabelagola - 573 135 59. Dr. Vidyavati Jain B-5/40-C, Sector 34 Dhavalgiri Apartments Po - NOIDA - 201 307 (U.P.) 60. Dr. Sudarshan Mishra Prakrit Studies Centre Rashtriya Sanskrit Sansthan Triveni Nagar Jaipur (Raj.) -0-0-0 - 323 -

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To me they (Prakrit Texts) are really universal - and they also deliver a universal message - because they raise the suppressed voices - they bring out the female discourse that has remained too much neglected in the male dominated society of great thinkers, philosophers whos texts, ideologies and postulations are mostly discussed in the seminar like! this. This seminar also as viewed the other voices that call our attention through Prakrit poetry works and the universal values emerging through them. Prof. R.V. Tripathi, Vice Chancellor Rashtriya Sanksrit Sansthan. New Delhi. sonal Use Only

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anumunujnaaclmulyNditurt vNgaalu adupunivdtNjnmunNdkNdul naarNku dimNdi sNgurNgul sNmdmyNyNymnNdN prava// jNtu kdhnNkur prbruvdiNddNdd vNd mvtlNdjnvrmu dyvNtNcbddam tlNprdinaanNdkNdaavnNdudulnu nNdikNdunu Menen/ eCosts nNduvlnnu 46v vNdn ddmrukmtlnrNtyrytaanNnumNtrmugaaNt aNjurtnmulu gumNtN mdhyloomtirwevels cNpeNdutnmunulu tnguruN mnNdinvaaru aNjldmun eNddlN jrgkNdditlNddddN mnN cNdmulu naaymni aNtiere/ables a s L AkuNddumudmu rumurNlooni mukhN dNtN 4uNcumuNdu cNslnNdnNdununynNd jNdhyN mriyudukiNt pNtN buujydkNtkmuNgaalu vijymu aNtmu nyaayN, mNdkuNtiymudaayiNmNtDES dvllu cdvkNddlmuNduku rNgNtlmilaa kv kaaNcn suucnlnu mNcNkoormNddlmulmNdlnu dumaarN vllNcvlNbN yjnulNbul vdnN mn munijndhiN dNdmulnu niNditulu byyvy dNdi Publishers BESTREET Bahubali Prakrit vidyapeeth (R.) National Institute of Prakrit Studies and Research Shri Dhavala Teertham Shravanabelagola - 573 135 La karnataka (India) Rashtriya Sanskrit Sansthan Deemed University Under the Ministry of HRD Govt. of India, 56-574 Institutional Area, Janakpuri, New Delhi - 110 058. e