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References in fact proved to be very well suited for the purpose and were used to enframe large (e.g. II 7 and III 10) as well as small (e.g. VIII 23 and 6) portions of the text. An excellent example showing to what extent this method could be used in regulating the sequence of the different texts within the scope of a saya is found in V. The numerous recurrences at the end of this chapter are so regularly planned that the whole in a way reminds of certain frame-stories in narrative literature. As a matter of fact
a) not only the discussion of the moons held at Campā (10) recurs to that of the suns in 1', as I stated above, also
b) the topics ‘day and night in gand 'divisions of time in manussakhetta' in 93 have their counterparts in 12 and 13-4 respectively60;
c) the topic 'Rāyagiha' in 91 recurs to the shifting of the scene from Campā to Rāyagiha in 2?;
d) the theme 'entering a new existence' connects 82 with 31-2;
e) the opposition kevalin ~ chadmastha connects 78 with 41-53
To the themes that form the skeleton of the whole saya one must add 'the divisibility of atom and aggregate' (71 seq. recurring in 81) which is probably connected with the kevalin theme by the notions paesa and eyai (7), cf. 414). There are several such interrelations between the main themes: thus the notion 'death' (marana = āu-kkhaya) in 78 is connected with the topic āuya started in 31-2 and recurring in 61 and 76; 'Rāyagiha' in 9 is connected with 77 by a reference, 'day and night' in g2 is related with ‘atom' in 71-5 and 81 by the common notion poggala.61
Besides the above-mentioned cases where sayas, in their end udd., were seen to recur to a topic treated in their first udd., we also find that two different sayas sometimes are connected
60 V 9* (with the addition on the shape of the world is added to 99. Cosmography is a 'final' topic, see below. Moreover 9* is a refutation of the dissidents, another 'final' topic.
61 On the numerous further interpolations and additions in V and esp. in 41-5% see the Conspectus, $ 22.
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