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ARTS AND SCIENCES
185 (0) In this was shown the movement of sun and moon such as candigamana and suāgamana
(8) It showed the lunar and solar eclipse such as candāvarana and sūrūzai ana
(9) It showed the setting of sun and moon such as candatthamang and suratthamana (10) It showed the candamandala, süramandala, nagamandala, jakkhamandala, bhūtamandala, rakhhasamandala, mahoragamandala and gandhavvamandala.* (11) It showed the gait of usabhamandala, sīhamandala, hayavilambiya, gajavilambiya, hayavilasıya, gayavilasiya, mattahayarılasıya, mattagajarilasira, mattahayavilambrya, matłagajavilambiya, and duyarılambiya (12) It showed sagaraparıbhattı and nāgaraparıbhatti. (13) It showed the drama of Nandã and Campā (14) It showed macchandaparıbhatt, mayarandakapavibhatti, jāraparıbhatli and maraparıbhattı (15) It showed the representation of letters from 'ka' to 'ra'. (16) It showed the representation of 'ca' to 'ña'. (17) It showed the representation of 'ta' to 'na'.
It showed the representation of ta' to 'na'. (19) It showed the representation of 'pa' to 'ma'. (20) It showed asoyopallar aparıbhattı, ambapallavapavibhatti, jambupallavapavibhattı, and kosambapallavaparıbhattı. (21) It represented paumalayāpatibhattı, nāga, asoga, campaka, amba, vana, tāsantī, kunda, atimuttaya, and sāmalayapavibhatti. (22) Duya (druta) dance * (23) Vilambra dance. (21) Duyavilambiya dance. (25) Añciya dance * (26) Robhıya dance (27) Aillyarıbhiya dance
Ārabharla dance *
Bhasolo dance + (30) Arabharlabhasola dance
) Uppayanırayaparatta, sankuciya, pasārzya, rayāraiya,+ and bhantasambhānta dance (32) In this drama the actors and actresses forming a row represented the story of Mahāvīra's carly life, his conception, exchange of foetus, birth, lustration, boyhood, youth, sexual sport, renunciation, penance, attainmcnt of kevalahood, the propagation of his message and finally his ner'āna 94
--Recaharecita in the famli * These are mentioned in thic Bhajata's Nalyasāstra It mentions gajadonta in place of kunjara (6) hamsa, aktra and hamsapal sa in place of hamsāralıkā (6), it gives twenty kinds of mandala (7), and mentions bhrāmara in place oi Thosola (11), and recila instead of recakarecita (12); Ace Bhag. Pt II (Bechardas ed ), p 43. 04 Sū. 66-84,
