Critical Study Of Paumacariyam

SR No.: 022643
Original Sutra Author: N/A
Author: K R Chandra
Publisher: Research Institute of Prakrit Jainology and Ahimsa
Publication Year: 1970
Total Pages: 672
Language: English, Sanskrit
Classification: Book_English & Book_Devnagari
File Size: 18 MB

Page 464

EDUCATION AND ARCHITECTURE
435
Married couples took great delight in music and dance during the night hours (70.58-61). The arrival or departure of great persons was also greeted with music (78.52; 96.6; 17.118). Thus we find that any happy social event was made colourful by the performances of dance and music. Then there is a reference to public entertainers who used to entertain the public on the Catvaras of public roads with their musical and dance recitals (2.5). The political occasions on which music and dance were performed, were the coronation ceremony (19.5; 85.18), and the occasion of victory of a king (6.235; 76.2). Music was also associated with military and war. Whether the army was ordered to mobilise (70.63; 71 12), or it commenced its march or was on the course of marching (8 02; 44.11; 57.22; 61.2; 7.6) or was on fighting (4.42), the playing of musical instruments was always connected with every occasion to instil the spirit of courage into the hearts of the soldiers. Religious occasions were similary made gay. The consecration ceremony of new born Jinas (3.17), the event of their renouncing the world (3.133), the occasion of offering alms to a Jina (4.14) and the attainment of omniscience by Jina (4.19) were greeted with divine musical performances. Celebration like the worship of Jinas in shrines on religious festivities (5 229; 28.4; 40.10; 66 24,28; 92.22) and the greeting of monks (39.21) done with the performance of music and
a
dance.
Drama-About the staging of dramas it is said that on every door of the Samosarana i.e. the assembly hall of a Tirthankara, eight dramas were danced (aṭṭhaṭṭhanāḍayāim dare dare ya naccanti 2.51). It seems to be a reference to the dance-dramas. One more reference is to the entertaining of dead Lakṣmaṇa by Rama who had become made It is said that Rama was trying to please Lakṣmaṇa through the play of various musical instruments and dramatic performances, (vavvisavamsatisarīyavīņāgandhavvavivihaṇāḍaesu thuvvai avirahiyam so Somitti Rāmavayaṇeņam 11 3.11). It also indicates the playing of dancedramas. The Rayapaseniyasutta mentions thirty-two of dance-dramas1 which were played by celestial before lord Mahāvīra. These performances represented auspicious things. Of them in the first kind of divine dance or drama eight auspicious things-Svastika, Śrīvatsa, Nandyāvarta Vardhamanaka, Bhadrasana, Kalasa, Matsya and Darpana were represented. Tae PCV probably refers to this kind of eightfold drama or dance. The PCV elsewhere (80. 5) refers to a Pecchahara
kinds
beings various
1. Ibid, 22 (Battisaibaddham Bhag. Su, 11.11.429-430.
nattavihim); see
J
also Naya, 1. p, 23