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A CRITICAL STUDY
(V. 121-22), the satire as a whole is general, directed against oredulity and superstition that deaden man's reasoning faculties and lead him away from the path of Truth. According to accepted critical standards, it is modern and not medieval, and it is more Horacian than Juvenalian. It is throughout rational and convincing. It shall be as well called good-humoured, as there is no deliberate attempt to distort or exaggerate facts or indulge in repeated rancour, The main point is that we should not be foolishly credulous and accept the mythological stories as literally true. As seen below, almost all the references to Purāņıs, etc. are traceable to their origins. The author is always implicit, and never vituperative in his criticism, and makes an intelligent use of dilemma, not only to prove or disprove things but also to give a witty air to everything that is ridiculed. Khiņdapāna's cornering and outwitting her male accomplices is a brilliant example of this device. The use of such dilemmatic situations has given a logical tone (quite inevitable and essential in the work of an outstanding logician like Haribhadra) and balance to the narration. Except for a few repetitions (elephant-pursuit, mating with Sun, Wind etc.), the story has the fullest variety with its strange, mysterious, awe-inspiring and terrible phantasies set in a realistic back-ground and provided with a rollicking humorous close. Some of the descriptions, short or long, för instance that of the cemetery, are quite epical in style and make-up. The story element in the frame-work is comparatively slight, but has gained a remarkable poise because of Khandapānā's flashing victories over her partners and the banker whom she dupzs by her superior intelligence and womanly wiles.
The precocious genius of the author', obvious in this unique work, indeed, provides a delightful field for researches in literary developments; and it is hoped that the publication of this edition of Dhürtākhyāna will inspire others to unearth still richer treasures that lie buried in the literature of ancient India,
4. Sources of the Purānic Legends Throughout the Dhū., in order to confirm the fantastic tale narrated by one Dhūrta, other Dhürtas have presented a series of Epic and Purānic legends. It is necessary to study them, wherever possible, in comparison with
1 Most of the works of Haribhadra are yet to be studied critically. The following are
the chief sources where some points about bis life, works and date are discussed. H. T. Sheth: Haribhadrasuri-caritram (in Sanskrit ), Benares 1917. Sri Kalyanavijayaji: Introduction (in Sanskrit) to tho od. of Dharmasangrahaņih, Dayachandra L. P. Fund Series No. 42, Bombay 1918, Jinavijayaji: Haribhadrasûrika Samayanirņaya (in Hindi), Jaina Sahitya Samsodhaka, Vol. I, part 1, pp. 21-68, also his
The Date of Haribhadragūri (in Sanskrit)', Poona 1919; his conclusion, based on sound proofs, is that Haribhadra should be assigned to A. D. 700-770. Becharadas Jivaraj: Introduction to his Jaina Darśana (in Gujaräti), Ahmodabad Samvat 1980. H. Jacobi: Introduction (in English) to tho ed. of Samarãiccakahi, B. I., Caloutta 1926; Jacobi accepts 750 A. D. or later as the time of Haribhadra's literary activity: in his account of Haribhadra's life, he has scrutinised the traditional biographies
and given a connected narration. Jain Education International For Private & Personal Use Only
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