Chaupannamahapurischariyam

Author(s): Shilankacharya, Amrutlal Bhojak, Dalsukh Malvania, Vasudev S Agarwal
Publisher: Prakrit Text Society Ahmedabad

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INTRODUCTION
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(4) The various post-canonical versions of the Svetambaras. E. Leumann, WZKM Vol. 5 (1891), pp. 111 ff. and WZKM Vol. 6 (1892), pp. 1 ff. (Citra and Sambhuta); E. Leumann, Die AvasyakaErzählungen. Leipzig 1897 (edition of a small portion of JCG/HTI along with parallel versions from other works; the edited text includes the beginning of the Rṣabha-Bharata-carita); J. Charpentier, The Uttaradhyayanasutra, Uppsala 1922, pp. 55 ff. (comparison of the narrative portions in the various commentaries on the Utt); L. Alsdorf, Der Kumarapalapratibodha, Hamburg 1928, pp. 26 ff. (Sihalabhadra); E. Leumann, Ubersicht uber die Avasyaka-Literatur, Hamburg 1934, pp. 14 1. (Avasyakacommentaries); L. Alsdorf, Harivamsapurana pp. 116 ff. (Harivamsapurana); L. Alsdorf, NIA I (1938/39), pp. 286 f. (Agadadatta); SC/M p. 88, 1. 20 ff. (destruction of Dvaravati [DaśavaikālikaCu/Ti]); SC/E §§ 6 if. (UH in general).
(5) The various Digambara-versions. H. von Glasenapp, Jacobi Felicitation Volume, pp. 337 ff. (UH in general); L. Alsdorf, Harivarśapurana pp. 116 ff. ( Harivamsapurana); SC/E § 18 (Mahavira's 16th and 18th prebirth).
(6) Different versions of a story found in one and the same work on the UH. SC/M (p. 85: death of the Prativasudeva; p. 135, 1. 7-27 various references).
(7) Jaina versions of the Ramayana. Näthūrām Premi, Jain sahitya aur itihas, Bombay 1956 (pp. 89 ff. and 102 ff. Vimala and Ravisena; pp. 93 ff. Vimala's tradition and Gunabhadra's tradition); V. M. Kulkarni, JOI Vol. 9 (1959/60), pp. 189 f. and 191 (the traditions of Vimala, Sangbadāsa, and Gunabhadra ).-V. M. Kulkarni has discussed the individual versions of the Jaina Rāmāyaṇa in a number of papers most of which appeared in the JOI (refer again to JOI Vol. 9, p. 189 ).
THE DRAMA VIBUDHANANDA AND THE SILAVATI-STORY
§ 22. The drama Vibudhananda (SC/E pp. 17-27). The nandi consists of an invocation of Neminatha recited by the personified Nandi. Then the sutradhara appears, introduces the work as a composition of Šilanka, and asks his wife (whose name is Nați, actress') to cooperate in the performance. He does not accept her objection that she is not in the right mood on account of the fact that an astrologer has prophesied to her the destruction of the family after the marriage of the son '12): such is the course of fate, and therefore she should not neglect her duty because of the prophecy. Now the kañcukin joins in the conversation and with his appearance and the exit of the other two the real action begins.
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The kañcukin first of all relates in a monologue the events which have preceded the play. Prince Lakṣmidhara, who departed from home together with his companion the Viduşaka, has come to the court of King Rajasekhara (apparently he had left his father's capital on account of a dispute he had with him); we shall get to know his father's name Candrapiḍa further on). The king is inspired by the prince and decides to give him the princess and half the kingdom '14). During an accidental meeting, the prince and princess have already fallen in love, but (as we shall see later on) the prince has not recognized the king's daughter in the girl. - The kañcukin has been sent to convey the king's offer to the prince. He starts to do this, although an astrologer has prophesied to him that the thing will not end well. But instead of the prince, he first of all meets the Vidūṣaka, who was sent out by 12. This, like the hint at the frustrated marriage of Neminatha and Rajimati in the nandi, is an allusion to the end of the drama.
13. For this motif compare SC/M p. 66, I. 40 f.
14. Bloomfield has discussed the motif on p. 186 of his book on The Life and Stories of the Jaina Savior Parsvanatha (Baltimore 1919).