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E. Leumann, An outline of the Āvasyaka Literature
2. The Daśavaikālika, first Utkālika-text. 3. The Uttarâdhyayana, first Kālika'-text. 4. The Ācārânga, first Anga. 5. The Sūtrakstânga, second Anga. 6. The Daśās, second Kālika-text.
The Kalpa, third “ “. 8. The Vyavahāra, fourth Kālika-text. 9. The Süryaprajñapti, fifth Kālika-text.
10. The Rşibhāṣita, sixth “ “. As can be seen, the arrangement is definitely consistent. The texts of each canonical group of works precede; the second Anga follows the first and after that the Kālika-texts 2-62 follow.
The compactness of the Niryukti-collection is shown in its interior, when, in order to avoid repetitions, the later parts often refer to the earlier ones (e.g. the Utt.-niry. to the Das.niry., etc.).
The collection is no longer preserved in its entirety. Naturally, the parts that have been handed down are those, which are connected with the corresponding basic work. They have, of course, experienced quite different fates. [224] Both of the last-mentioned have not yet been found - they probably have been preserved fairly unadulterated, because they fell out of favour early -; the others have been enlarged, often in such an unusual way that the designation "Niryukti" had to be dropped and substituted by "Bhāsya".
Kālika from kāla “school-time" signifies what belongs to the regular syllabus or studies' programme, utkālika. (Our system of teaching also similarly speaks of compulsory and facultative lessons or of examination and non-compulsory subjects.] According to the Nandi-Cūrņi (Nandi ed. p. 409,2), school-time is formed by the first and last pauruși of day and night.
2 The Pāksika-sūtra and the Nandi have more modern Kālika-lists. They agree among themselves and with Bhadrabāhu only up to four; Furthermore, they are as follows: Bhadrabāhu Päksika-sūtra
Nandi Sūryaprajñapti Rşibhāṣita
5. Nisītha Rşibhāșita 6. Niśītha
6. mahāNisītha 7. mahāNisītha
7. Rsibhāsita 8. Jambūdvīpa-prajñ.
8. Jambūdvīpa-pr. 9. Süryaprajñapti
9. Dvīpasāgara-pr. 10. Candraprajñapti
10. Candraprajnapti 11. Dvīpasāgara-prajñ. The Angacūlikā agrees with the Pāksika-sútra, but it places the Süryaprajñapti at the top of the prajñaptitetrad (8. Sūry, 9. Jambo, 10. Candro, 11. Dvīpo). On the other hand, the modern works, like the Sāmācārīvidhi by Paramānanda, the Vidhimārgaprapă by Jinaprabha and the Acāravidhi, all of which directly or indirectly use the Angacūlikā, give the four texts in the sequence Jambo Candro Sūrya Dvīpo (Weber Cat. II 8983 f. 8656 f. 83229 f.). However, the original arrangement is, Candro Sūryo Jambo Dvīp', which is derived from the correpondence with Sthān. (III 1 end &] IV 1 end Ed. fol. 232" with Digambara literature (Prabhāc. on Kriyākal. B II 1, 9. Tattvårthasāradīp. I 95-1014). In the Nandī, the Süryaprajñapti has been omitted and placed among the Utkālika-texts! The reverse is the case according to Sthān. III 1 end Ed. fol. 137a as this should belong to the Jambūdvīpa-prajñapti. The subsequent Upånga-codification that no longer retains the difference between Kālika- and Utkālika-texts, has incorporated the fourth Prajñapti into the Jīvâbhigama (an earlier Utkālika-text) and otherwise follows the Angacūlikā-arrangement (Sūryo Jambo Chandro) that also then has been correctly taken over by the three mentioned Sāmācārī-texts in their Upânga-lists (Weber Cat. II 90017-36, 87213-16, 83528 f.).
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