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THE CANONICAL LITERATURE OF THE JAINAS
phusanti te phase puṭṭho 'hiyasae. For the present text first handles, in this collection of the types of apostates, the hearer not yet (spiritually) ready; one turned rebellious owing to weakness first comes in 32, 14 (precisely, 16, see above). Most clearly is 33, 16 called forth by bhavai in 29, 25 36, 4 etc. savvavanti ca nam logamsi in 35, 8 stands after pariggahāvanti just as it does after eyavanti in 1, 15.21. Lastly kheyanna in 35, 14 releases the whole series of the qualities of a monk that are familiar from 10, 17ff. in which connection the word bhikkhu too has here made the sentence appear appropriate.
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The last chapter of the first Śrutaskandha bears, in the commentaries, the title Uvahāṇa-suya. The name Ohaṇa-suya chosen by Jacobi in his edition is to be found only in the manuscript B which alone if we except the one single marginal note occurring in A mentions a title. The subject-matter of the text is constituted by the beginnings of Mahāvīra's career as a pilgrim, and indeed according to the Niryukti its four sections deal with his cariyā, sejjā, parīsahā and tigicchā. However, in this one word each from the initial verses has been erroneously generalized. One rather finds Mahāvīra's cariya predominating in the third Uddeśa, his pind'esana in the fourth, and the general principles of his ascetic conduct in the first two. On account of the personal bearing of its content as also on account of its language which in its frequent employment of the optative in the sense of the indicative and of asi in conjunction with adjectives and participles exhibits conspicuous peculiarities again, on account of its form - where an old type of Āryā makes its appearance - the poem stands far apart from the remaining parts of the Bambhaceraim. The reason why it has been attached to them lies in that it begins with a rule of clothing even if one given by Mahāvīra to himself. Indeed, as we have seen, such rules for clothing occupy an important place in the last prose-Uddeśas of the Vimoha. One again sees the editor at work (that is,) how a passing connection of content occasions a fixing together (of texts) on his part. Each of the four sections has the same stereotyped closure - which indeed is composed, at least partly, in Śloka-metre. The beginning esa vihi anukkanto, in its backward pointing manner, corresponds to the exact turns of expression such as esa magge----paveie which, as we have learnt above, occur when they do by way of closure. Whether it is to be read in the form of a metre is questionable inasmuch as the form - UU is obviously avoided. The pada mahaṇeṇa maimaya is known from the Vimoha. The next one
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