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:116:
Jinabhadra Gani's
[The second Trans.--83 If variety (in the case) of external (objects) is established, variety (in the case) of Karman which is surrounded by soul should (all the more) be accepted (as positive) like the variety of forms laid down in a piece of art. (1631)
टीका-यदि हि जीवापरिगृहीतानामपि बाह्यानामभ्रादिपुद्गलानां नानाकारपरिणतिरूपा चित्रता त्वया प्रतिपन्ना, तर्हि जीवानुगतानां कर्मपुद्गलानां विशेषत एवास्माकं भवतश्च सा सम्मता भविष्यति, भक्तयो विच्छित्तयस्तासामिव चित्रादिषु शिल्पिन्यस्तानाम् । अयमभिप्राय:चित्रकरादिशिल्पिजीवपरिगृहीतानां चित्र-लेप्य--काष्ठकर्मानुगतपुद्गलानां या परिणामचित्रता सा विस्रसापरिणतेन्द्रधनुरादिपुद्गलपरिणामचित्रतायाः सकाशाद् विशिष्टैवेति प्रत्यक्षतः एव दृश्यते । अतो जीवपरिगृहीतत्वेन कर्मपुद्गलानामपि सुखदुःखादिवैचित्र्यजननरूपा विशिष्टतरा परिणामचित्रता कथं न स्यात् ? इति ॥ ८३ ॥ (१६३१)
D. C.-Now that you have accepted citrata in the form of manifold transformations in the case of bāhya-pudgalas like abhra etc. which are not surrounded by jiva, you shall bave to accept the sanie in the case of Karma-pudgala also as they lieve already been surrounded by Jivas.
Again, the citratā of forms drawn by an artist in painting, sculpturing, carpentry etc. is peculiarly distinct from the citrată of the manifold vikāras of bāhya-pudgalas like rain-bow etc, while in the case of Karma- pudgalas also, the pariņāmacitratā is peculiarly distinct from the other two varieties, firstly, because it gives rise to alterations like sukha, duḥkha etc., and secondly, because it is aided by jiva.
Again, the opponent asks :-- तो जइ तणुमेत्तं चिय हवेज का कम्मकप्पणा नाम ?। कम्मं पि नणु तणु चिय सण्हयरब्भतरा नवरं ।।८४॥ (१६३२) To jai taņumottam ciya havèjja kā kammakappaņā nama ? | Kammam pi nanu tanucciya sanhayarabbhantara navaram.84(1632)
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