________________ Preface simple and free from faults only once in 24-hours. And that too he accepts only in order to maintain the steadiness of his body which he reckons as instrumental to the performance of austerities (tapa), self-restraint (samyama) and meditation (dhyana). Acarya Visuddhasagara maintains that the mark (laksana) or the dharma' of the true ascetic (muni, sramana) is the disposition (bhava) of equanimity (samya). Since the words of the true ascetic are incontrovertible, it follows that, for him, enemy (satru) and kinsfolk (bandhuvarga), happiness (sukha) and misery (duhkha), praise (prasamsa) and censure (ninda), iron (loha) and gold (svarna), and life (prana-dharana) and death (prana-tyaga) are alike.1 Acarya Visuddhasagara has showered me with his divine blessings in this project. His divine blessings have had wondrous effect in making both, the process and the end-result, most gratifying for me. I bow my head in utter reverence to Acarya Visuddhasagara and each disciple-ascetic (sisya muni) of his congregation (sangha). I make deep obeisance to the supremely holy Acarya Kundakunda, the composer of the supreme Scripture 'Pancastikaya-samgraha'. Acarya Kundakunda stands out in the assembly of venerable sages like the moon in the assembly of the constellations of stars. My reverential salutations to the most learned Acarya Amrtacandra, the composer of 'Samayavyakhya', and Acarya Jayasena, the composer of "Tatparyavitti', for composing these masterpiece commentaries on 'Pancastikaya-samgraha'. These commentaries have enabled me to get to the depth of the profound tenets expounded by Acarya Kundakunda in this holy text. I make worshipful obeisance to each of the 8,99,99,997 supreme ascetics2, from the sixth (pramattasamyata) to the fourteenth (ayogakevali) stage of spiritual development (gunasthana), present in the human-world 1 See Acarya Kundakunda's Pravacanasara, verse 3-41, p. 300-301. 2 See Acarya Nemicandra's Gommatasara Jivakanda, Part-2, p. 869-870. . . . . . . . . . . . . . . . . . . . .. . . LI