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THE CANON
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Devindatthaya, Viratthaya and others. Cheyasuttas: Āyāradasão (Dasā 8, “Kalpasūtra”=Jinacariya, Therāvalī, Pajjosavanākappa; Dasā 10=Āyāitthāna), Kappa, Vavahāra, Nisīha, Mahānisiha, Pancakappa, Jiyakappa. Nandi, Anuogadārā. Mülasutta: Uttarajjhāyā, Āvassayanijjutti, Dasaveyāliya, Pindanıjjutti, Ohanijjutti. The homogeneity which, as we are led to assume, unites these titles is often merely an apparent one. Nearly all old and various later canonical works are composed of parts which frequently are rather incongruent, as may be seen from the brackets given above. Apart from such cases striking the eye there are others where parts and particles of some chapters, on the ground of higher criticism, can be connected in a new manner.
$42. Thus, when we replace the mechanical arrangement just given by a critical one, the result is as follows.1 Apart from the āvassaya formulae the most ancient style presents itself in the Āyāra, Sūy., the Utt., the old Cheyasuttas, the Isibhāsiyāım, and in portions of the Dasaveyāliya. Significant are old grammatical forms, the trisțubh, jagatī, vaitālīya, and aupacchandasaka metres, a primitive form of the Arya, the opening formula suyam me, āusam, etc., the concluding one ti bemi, and, of course, the subjects, especially so far as they are formed by the will of self-preservation and the fundaments of the order. A motrical investigation made by JACOBI, as was said before, resulted in surmising the origin of the most ancient texts at about the end of the 4th and the beginning of the 3rd century B.C. It hardly needs to be mentioned that the characteristics referred to are distributed differently upon the individual texts.
The younger parts of the Canon show the younger grammatical forms, the common Āryā taking the place of the Sloka , and partly in them a symmetrical arrangement of subjects. This can be observed in most Paiņnas and in the Nijjuttis among the Mūlasuttas which are not far from the commentaries bearing the same name ($ 43). A good number of texts join in groups thus unveiling the peculiar taste of the author's times and later on
1. The AUTHOR, Worte, p 2 ff.
2 Ayar II 9, Súy 1, 4 (see ALSDORF Ind Ir. J 2, 259 ff ), Utt. 8, comp JACOBI ZDMG 38, 590 #f, LEUMANN ZI17, 160-162,