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which are recited for the performance of the essential acts' (āvaśyaka kriyā). Besides, it will not be out of place to mention that there have been changes in the performance of the 'Avaśyaka-kriya' from the ancient vidhi which has been described by Acarya Haribhadra Suri in his Avaśyaka Vṛtti (p. 790; Introduction, p. 4 &45). Thus, the performance of kayotsarga of śrutadevata and kśetradevata and the recitation of a stuti after the recitation of Siddhāṇam - Buddhāṇaṁ in Daivasika Pratikramaṇa, does not appear to be a part of the popular practice in the time of Haribhadra Sūri as in the Vṛtti he has only instructed the recitation of three stutis after the recitation of 'Siddhāṇam'. (Avaśyaka Vritti, p. 790) It must, however, be stated that the differences in the performance of sāmācāri must have existed in ancient times as Haribhadra Sūri has also mentioned the other vidhis (ways of performance) apart from the one indicated by him. (Introduction, p. 45.) The process of evolution covers all human and non-human existence; hence investigative studies into the process of evolution must cover every field of human endeavour, individual as well as social.
3. The importance and specific status/nature of the Avasyaka in the Svetambara and Digambara tradition, as presented in the 'Introduction' (Pañca Pratikramaņa) has been properly covered in the earlier paper. However, Pt. Sukhlalji's indomitable urge for comparative evoluation of different traditions, makes him examine the similarities in the Svetambara texts, i.e. Avaśyaka Niryukti and the Digambara text Mūlācāra which describes the six Avasyakas. A comprehensive list of the common or near-similar Gathas has been given in the Introduction (p. 53-54), which can serve as the basis for further examination. Similarities in the section of Bṛhatpratikramaṇa and the Pakkhiya Sūtra have also been indicated. A mere reading of a couple of Gathas from Bṛhatpratikramaṇa and Mūlācara on one hand and Avaśyaka Niryukti on the other, is enough to show the similarity:
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