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JAIN JOURNAL
The great bulk, however, of the carita-kāvyas of the sandhibandha variety has not yet appeared in print. The works narrate the biography either of some Tirthankaras or of some notable figures of Jaina mythology or history to illustrate some point of Jaina belief, religious practice or pious conduct.
The Kathākoşa Type
The sandhi-form serves yet another class of subjects, viz., the one characterized by a chain of narratives woven round some particular body of religious or ethical beliefs, dogmas or practices. The Sayala-vihivihāna-kāvya (Sk. Sakala-vidhi-vidhana-kāvya) of Nayanandi (1044 A.D. in two parts respectively of cantos 56 and 58, and the Kahākoşa (Sk. Kathākoşa) of Sricandra (11th century A. D.) in 53 cantos narrate stories associated with the verses of the Bhagavati Arādhanā, the well-known pro-canonical Digambara work in Jaina Sauraseni, dealing with monachism. Nayanandi and Sricandra appear to have based their works on similar previous Kathākosas in Prakrit and Sanskrit connected with the Arādhanā.
Here are also to be included the Damsana-kahā-rayana-koşa (Sk. Darśana-kathā-ratna-kosa) of Sricandra (1064 A.D.) in 21 cantos, the Dhammaparikkha (Sk. Dharmapariksā) of Harisena (988 A.D.) in 11 cantos, the Chakkammovaesa (Sk. Sarkarmopadeśa) of Amarakirti (1191 A.D.) in 14 cantos, and possibly the Paramitthipayasasara (Sk, Paramesthiprakāśasāra) of Srutakirti (1497 A.D.) in 7 cantos, all of which so far remain to be published.
Of these the Dhammaparikkhā is specially interesting on account of its remarkable subject-matter. It tells us how Manovega converts his friend Pavanavega to Jainism by effectively demonstrating the absurdity of the stories of the Brahminical Purāņas. Quite an effective technique is employed for the purpose. Manovega narrates in the presence of Pavanavega all sorts of incredible and fantastic stories about himself before an assembly of the Brahmanas, and when they refuse to believe him, he justifies himself by quoting equally absurd incidents from the great epics and Purāņas. Harisena's work was based on a Prakrit original and was succeeded by several similar compositions in Sanskrit and other languages. Haribhadra's Dhürtākhyāna (8th century A.D.) in Prakrit, having a similar purpose and motif was the earliest finished work of this type, though an unrefined version was known even earlier to Haribhadra.
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