Trishasti Shalaka Purusa Caritra Part 2

SR No.: 001002
Original Sutra Author: Hemchandracharya
Author: Helen M Johnson
Publisher: Oriental Research Institute Vadodra
Publication Year: 1937
Total Pages: 438
Language: English
Classification: Book_English, Mythology, & Story
File Size: 9 MB

Page 350

SUVIDHINATHACARITRA
325
etc., by devotion to the Arhats, etc.,457 he acquired strong body-making karma of a Tirthakṛt. When he had spent his life in such religious acts, he became a powerful god in the palace Vaijayanta.
Incarnation as Suvidhi (14-164)
Now, in the southern half of Bharata in this Jambudvipa there is a very important city Käkandi distinguished by its wealth. The pearl-garlands of its houses look like shining rosaries of Puspadhanvan for subjugating virtuous wives. The fourfold loud singing of the concerts 158 in its temples becomes a charm for transfixing the gait of the Vidyadharis. Ponds with clear water and abundant tall white lotuses imitate the sky with autumnclouds and apparent stars. There, beggars, as well as gurus, were approached from afar and conducted to receive foot-water, and were delighted with suitable objects.
Description of his parents (19-27)
The king was named Sugrīva, like a necklace of the earth, like a Graiveyaka-god in beauty. His command, like a weapon with an efficacious charm, was nowhere cast aside, neither in cities, forests, oceans, nor mountains. The river of wise policy with high-crested water of glory rose in him like a mountain and flowed to the ocean. The ocean of glorious deeds of him, the crest-jewel of kings, devoured the wide streams of glory of all the kings.
His wife was named Rāmā, the stop to all faults, beautiful with spotless virtues, the crest-jewel of all charming women. The receptacle of natural beauty, giving delight to the eyes, she was unique on earth, like a digit of
457 12. The sthānakas. 458 16.
Sangitagitam uccaiścaturvidham.
As gita is one of the three parts of a sangita (the other two being dancing and instrumental music), the caturvidham probably modifies gitam only. The four parts may be svara (note); grāma (scale); murchana (melody); and tāna (tone). See Rajendra s.v. giya.