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APPENDIX: Schubring's ĀCĀRĀNGA ANALYSIS
239
Tīkā, even Devrāja (see p. VII) is thoroughly dependent on it at least for the explanation of words; and in his division of the text into 522 brief sections he only apparently betrays progress in the direction of a more independent judgment.
A consideration of the history of the text - which in the following I attempt for the first time reveals an altogether different picture, and evidently before it vanish the difficulties that had made themselves felt to the editors and translators uptil now. As befits the purpose, it begins with a separation of the connected from the unconnected utterance. The versification of the Bambhacerāim this being the old established title of the first Śrutaskandha - brings forth a mass of Tristubh and Jagati, Śloka and Arya, in quite stray a fashion even Vaitālīya (24, 29) and Aupacchandasaka (29, 1). Its spread in the midst of prose is not even. Now the two stand in a continuous alternation, now there appears an undisturbed series of verses, now comparatively long intervals contain no traces of verse. As things stand two types of style should be distinguished first, the Prose-style, the unmixed prose-utterance in comparatively broad detail, with a most articulate construction of fullfledged sentences. On the contrary, the frequent defectiveness or the lack of a syntactical rounding off and, in general, an extremely concise diction is the characteristic mark of the prose occurring in the second form of expression permeated with versification which therefore is to be designated the Verse-Style. It is this (latter) picture of the text which, in frequency preponderating over the Prose-Style, seems to be characteristic for the entire Bambhaceraim and so with Weber (Ind. Stud. XVI 253) certainly, of course, before Jacobi's edition - gave rise to the erroneous surmise of an artificial language after the manner of the Brahmanical Sūtra-technique while by Barth (Revue de l'Histoire des Religions XIX [1889] 282) was described as "lambeause de Sentences énergiques, tout imprégnés de fereur [scraps of energetic sentences, thoroughly impregnated with fervour (Translation)]. In the further subdivision of the Verse-Style I collect together the rhythmically related metres and designate Tristubh-Style those parts where Tristubh and Jagati lines appear in the neighbourhood of prose and Śloka-Style those where Ślokalines sometimes beginning with Āryā do so.
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