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## Introduction
The time has come to determine the chronological order of the *Tattvarthabhashya* and the *Tattvarthavartika*. To do this, we need to compare the two works.
It is generally accepted by all wise men that the *Tattvarthavartika* was written after the *Sarvarthasiddhi*. There is clear evidence that the *Tattvarthabhashya* must have been composed before the *Tattvarthavartika*. We need not look for evidence elsewhere, as the *Tattvarthavartika* itself bears witness to this.
First, consider the *Uttanika* of the *Tattvarthavartika*. There is a difference in the explanation of the reason for the composition of the *Tattvarthsutra* in the *Sarvarthasiddhi* and the *Tattvarthabhashya*. The *Sarvarthasiddhi* states that a learned monk, sitting in an assembly of monks, asked the Acharya, "O Lord, what is the benefit of the soul?" The Acharya replied, "Moksha." The monk then asked, "What is the means of attaining it?" In response to this question, the *Tattvarthsutra* was composed. However, the *Tattvarthabhashya* presents a different account of the *Uttanika*. It states that in this world, it is rare to find teachings on the benefit of the soul without the path of Moksha. Therefore, the path of Moksha is taught.
Now, read the *Uttanika* of the *Tattvarthavartika* in light of these two accounts. It will be evident that it clearly refers to both the *Uttanika* of the *Sarvarthasiddhi* and the *Tattvarthabhashya*. Moreover, the reference to the *Uttanika* of the *Tattvarthabhashya* begins with the word "Apare." This clearly indicates that the author of the *Tattvarthavartika* considered the *Uttanika* of the *Sarvarthasiddhi* to be the one accepted by the Digambara tradition, and the *Uttanika* of the *Tattvarthabhashya* to be another. This is the case with the *Uttanika*.
Next, consider the *Sutra* text. The author of the *Tattvarthabhashya* has accepted the reading "Pruthutara" in the first *Sutra* of the third chapter. In the Svetambara Agama literature, the reading "Chhatai Chhatta" is available to express this meaning. The author of the *Tattvarthabhashya*, while explaining this word, has clarified it using the phrase "Chhatratichhatrasansthita." This reading is not found in the *Sutra* text accepted by the *Sarvarthasiddhi*. The author of the *Tattvarthavartika* not only notices this but also criticizes it, attempting to show that the reading "Pathutara" in the *Sutra* is inappropriate.
Generally, there are significant changes in the *Sutra* text accepted by the *Tattvarthabhashya* compared to the one accepted by the *Sarvarthasiddhi*. However, the author of the *Tattvarthavartika* does not discuss all these *Sutra* texts. He mainly opposes those *Sutra* texts of the *Tattvarthabhashya* that, if accepted, would clearly contradict the Agama. In the fourth chapter, the *Sutra* "Sesha Sparsh" etc. appears. According to the *Tattvarthabhashya*, the reading "Dvayordvayo" is found at the end of this *Sutra*. Bhatta Akalankdeva's keen observation falls on this reading, and he considers it unacceptable to accept this additional reading, pointing out its contradiction with the *Aarsh*. Similarly, in the fifth chapter, the *Sutra* "Bandhe Adhiko Parinamiko Cha" appears. However, in the *Tattvarthabhashya*, its modified form is found as "Bandhe Samadhiko Parinamiko."
It is clear that the word "Sama" in this *Sutra* does not align with the arrangement of bondage as described in the Agama. This fact is not hidden from the author of the *Tattvarthavartika*, and therefore, due to its contradiction with the Agama, he explicitly declares its lack of authenticity. The same is the case with the last three *Sutras* of the fifth chapter in the *Tattvarthabhashya*. These *Sutras* are:
"Anaviravimamscha || 42 || Rupichvaaviman || 43 || Yogoupayogi Jiveshu || 44 ||"
These *Sutras* distinguish between the beginningless and beginningful aspects of the *Parinam* (transformation), and call the *Parinam* of the *Pudgala* and the *Jiva* beginningful.
1. See *Tattvarthabhashya Uttanika* verse 31.
2. *Tattvarthavartika Uttanika* page 1.
3. *Tattvarthavartika Uttanika* page 3.