________________
232
COMPREB ENSIVE HISTORY OF JAINISM from Mūlarāja to Bhima II. There is also a good description of Vastupāla's pilgrimage and in this, he practically follows the Kirtikaumudi and Sukstasankirtana. He also describes in an allegorical style, the death of Vastupāla, which was probably influenced by the Moharājaparājaya. Bālacan. dra has been described as an adept in the Vaidarbh] style172. Some of his descriptions are quite vivid and beautiful ; for example, his description of Sarasvati appearing in the poet's Yoganidrā (I. 58-70) and also his charming description of Apabilapura 17.
Jayasiṁhasūri, was a pupil of Virasūri, and the head of the famous Suvrata svāmin temple of Bhrgukaccha. He is the reputed author of the play Hammiramadamardana174. It was enacted at Stambhatirtha, at the request of Jaitrasimha, the son of Vastupāla, after V.S. 1273, but before V.S. 1286, the date of the first known manuscript of this work178.
his is a bistorical play on a contemporary event, in which the playwright has dramatised the strategy, adopted by that remarkable Jain statesman to repulse a Muslim attack on Gujarat. The drama has altogether five Acts and the hero Vastupāla acts like Cânakya of the Mudrārakshasa. He is represented as the friend, philosopher and guide of prince Viradhavala. It also throws welcome light on the espionage system of the 13th century. It appears that Vastupāla, who was an astute politician, was well-read in the Artthaśāstra of Kautilya. The 3rd Act of the play shows the terrible effect of Muslim depredations in Mevād. The 4th Act shows the success of Vastupāla's diplomacy. The 5th Act has a female character, in the person of Jayataladevī, the queen of Viradhavala. That particular Act describes the return of Viradheyala and Tejaḥpāla, from the scene of action by Naravimāna, an aerial car, and in this connexion we get charming descriptions of Abu, Candrāvat], Siddhapura, Anabilapura, Karṇāvat] and finally Dhavalakka. There is no doubt that the dramatist had in mind the description of Rāma's return journey by Pusb paka, from Laökā to Ayodhyā, in the origi
