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THE SVBTĀJBARA LITARATURE
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Karna and his marriage with Mayanalladevi. The next Book deals with the birth of Jayasimha and in 11th chapter, is given a few details about Jayasimba's military exploits. The next four Books do not give any information of historical importance, but there is a reference to the death of this celebrated monarch. The 17th Book shows Hemacandra's poetical qualities and in the 19th, there is a reference to the struggle between Arnorāja of Rajasthan and Kumārapāla. The last or the 20th Book, of the Sanskrit portion of this poem, mentions some of the reforms of Kumārapāla as a Jain and also the declaration of amari.
The Prakrit portion of this poem, which deals exclusively with Kumāra pāla, is also known as the Kumārapalacarita (Kumaravalacariya). The 21st Book refers to the exploits of Kumārapāla, who is represented as a Jain monarch. The next Book describes his visit to Jina temples and his worship of the Jinas. The next three Books do not give any historical information and in the 26th has been mentioned the disaster, suffered by Mallikārjuna, the king of Konkana. This Book further represents this Jain king as a universal monarch, whose overlordship was accepted by the kings of Kāśi, Magadha, Gauda, Kānyakubja, Daśārņa, Cedi, Jāngaladeśa etc., which is an obvious exaggeration. The last two Books are important only from the religious point of view
It is, however, a fact that Hemacandra has not mentioned some of the major details about Jayasimha and Kumārapāla and sometimes his commentator Abhayatilakagani, writing in V.S. 1312 (that is almost a century after Hemacandra), was misled by some of the obscure passages of this work, which always had a double meanings.
The greatest and the most voluminous work of Hemacandra is his Trishashțišalakāpurushacaritra1oo, which runs to eleven parvans or Books and has altogether 36,000 verses, almost twice the size of the present critical edition of the Rāmāyana. The last Book, known as the Parisishịaparvan, is actually a separate work101. It is also known as the Sthavira
