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THE DIGAMBARA LITARATURE
was written by one Kanakâmara Muni, who was originally a Brahmin. He mentions many earlier authors, including Pushpadanta, who lived in the 10th century. A few contemporary kings namely Vijavāla, Bhūvāla and Kaņṇa have been mentioned and it is very difficult to identify these kings correctly. The work was written at Asai town, which is also quite difficult to identify.100 The poet, being originally a Brahmin, was an extremely well-read man, and has shown thorough acquaintance with the Hindu mythology. Even in his days, persons, who wanted to die voluntarily, used to go to Prayaga1o1, a custom also mentioned by Hiuen-tsang.102 The author has also mentioned several places including Cambay (Khambhāyacca Pattana)108, Girinagara10 of Sorattha (Saurashtra), Tamalitti105, Teranagara 106 (Tagara) etc. The poet also has successfully described love-scences. There is also a good description of the goddess Padmavati, who has been represented1o as a four-armed goddess. The colour of her body was red. The poet has told the story of Naravahanadatta in the 6th Book; he has however given the story a strong Jain bias. Several other Jain works on this subject are known.1
106
269
Hastimalla, who lived in the 13th century, was a great Digambara dramatist of South India. According to Brahmasuri, who was his descendant, being separated from him, by four generations, he was originally a resident of Guḍipattana (in Tanjore district) and afterwards lived in Karnataka. His patron was one Pandyamahiśvara, who probably ruled in the Karkal area. Four plays of this writer are known; they are Añjana-Pavanañjaya, Subhadraharaṇa, Vikranta-Kaurava and Maithili-Kalyāṇa.
109
The Añjana-Pavanañjaya11o (AP) is a drama of seven Acts. This particular story of Añjana and Pavanañjaya has been told, for the first time, by Vimala, as early as the first century A.D., and repeated by Ravisheņa, Svayambhu and others. The playwright has not been able to give a correct
