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115
after by the senses of smell, taste and touch. In consequence, A'-are kamis, A' are kāmis as well as rupa-bhogis, and H.A.M.G are kamis as well as bhogis. This text may belong to the late third canonical stage. In this connection, XIV.9.534 informs that the material objects (pudgala) of H are unpleasant, those of A.M are pleasant as well as unpleasant, and those of G are pleasant. This passage probably falls in the late third canonical stage as well. Then the canonical authors discuss in X VI.4.622 that some jivas enjoy (paribhoga) commitment of 18 kriyas, one-sensed beings and gross-bodied beings, and some do not relish (the Jaina theories of) non-commitment of 18 kriyas, astikayas, atoms and kevalis-in-the-immovable-state. These items are said to consist of jiva-ajiva drauyas. We assign the fifth stage to this text.
265
The soul is expressed in terms of prade'sa as follows: The space in the soul of an animal or a man is contiguous to the soul, therefore jiva prade's as are least affected even when its body is touched, scratched, chopped or burnt (VI. 3.324). Referring to this sutra, X V1.7.634 says that in the fight of devas fought by way of creating many forms, these forms as well as their spaces are adjoined with one jiva, therefore weapons have no effect on them, nor can they be touched nor burnt. The former sutra can be placed in the third canonical stage, but the latter, being expressed in a mythological context probably belongs to the fifth stage.
266
Then, it is said in XI. 10.421 that the jiva prade'sas of one to five-sensed beings and siddhas can interpenetrate in one aka'sa prade'sa, inasmuch as a thousand spectators' gazes do not give obstacles to nor harm a dancing girl on the stage displaying the seventy-two forms of art, or inasmuch as the gazes themselves do not harm each other. In continuation, XI.10.422 offers a relative numerical comparison of jiva pradesas occupying the minimum aka's a prade's a, all jivas, and jiva prade'sas occupying the maximum aka'sa prades as. The Seventy-two forms of dance make a frequent appearance in the story texts. These two sutras, forming a series, must have been composed in the fourth-fifth stages.
267
Jivas' characteristics in this and that class are investigated by way of positing various anuyogadvaras. 1.5.44-49 examine the nature of H.A.M.G in terms of pre-formulated list of ten items which are offered at the beginning gathā, i.e., sthiti, avagahana, 'sarira, sanghatana, samsthana, le'sya, drsti, jnana, yoga, and upayoga. Sutra 46 quotes a mnemonic gatha pertaining to the lesya of H.A.M.G. From this formal presentation, these passages appear to belong to the fourth-fifth canonical stages. We should also note that the summary gatha at the head of sutra 44 includes prthui, which is the subject matter treated in the previous sutra 43 that we placed in the fourth-fifth stages (cf. A1-2).
268
1.2.21 (X) considers whether ahara, sarira, breathing, karma, varna, le's ya,
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