Critical Introduction to Panhavagara

Author(s): Amulyachandra Sen
Publisher: Amulyachandra Sen

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not be made even if they were true and also there are laid down conditions to which correct speech must conform in respect of its contents and form In chap 8 are mentioned what kinds of things, although easily available, are not to be taken unless expressly given, and the conditions under which things offered in alms are to be accepted or rejected
These last five chaps, as is only natural, occupy themselves mainly with rules and practices of ascetical life, and in this connection take place contacts with, borrowings from, and literal coincidences with, other texts mainly devoted to the subject of ascetic discipline We propose therefore to dispense with these chaps of the text, for the subject-matter of their treatment, viz, details of Jaina ascetic life are well-known from the works of scholars, especially of Jacobi, Leumann and Schubring, and there is nothing more to be gained by going over the same ground again
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But, inspite of their ascetical preoccupation, the last five chaps have some matters of secular interest which must not be passed
Over
a) in chap 7 (p 114b) there is a reference to twelve kinds of bhāsi which, says Abh quoting a verse1), are Prakrit, Sanskrit, Magadhi, Paiśāci, Sauraseni and Apabhramsa each divided in two kinds, prose and verse
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In chap 10 there are some interesting lists, eg,
1
muinga
b) Musical instruments2) (p 149b) — muraya (big drum), (drum), panava (light kettle-drum), daddura (a jar with its mouth covered with leather), kaccavi (vādya-viśesa, Abh p 159a, perhaps some kind of tortoise-shaped drum), vīnā, vipañci (sic) and vallayı (sic) (varieties of the vīnā), vaddhisaka (vadya-višesa, Abh)3), sughosa (a kind of bell), nandi (a loud trumpet), susaraparivādini (a kind of vīnā), vamsa (flute), tūņaka and pavvaka (Abh has vādya-visesa for both of these but in Ayar II xi 2
1) The quotation is from Rudrata, Kāvyālamkāra 2, 12 (see Jacobi, Bh as Visatta Kaha, p 55*)
2) Cf Ayar II x 1-4, Rāyap p 46 and Barnett's Antag p 44
3) The form of this word varies very much, see PSM, sub voce and Barnett Antag p 132 According to Silanka (Ayara ed Dhanapati, II p 226) it is an instrument differing from the vină, like the vivañci, in the number of strings