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SAMAYASARA maintain the difference between the Chetana Self and the Achetana Non-self. Prakriti of the Sankhyas exactly corresponds to Pudgala or matter of the Jains Since this is contradictory to the nature and attributes of the Self both the systems maintain that it is impossible to obtain one from the other Therefore they regard both the Chetana and Achetana entities as not only distinct and independent of each other, but both are utlimate realities existing permanently uncreated and indestructible. But Sankara in order to defend the Vedantic doctrine of the Brahman has somehow to derive the Achetana entity also from the same first cause, Brahman. Kunda Kunda clearly points out that this is impossible. If the doctrine of the identity of the cause and effect is accepted—Sankara also does accept this doctrinethese two contradictory effects, the Achetana Non-Self and the Chetana Self, cannot be produced by the same cause, the Brahman, which is taken to be a Chetana entity according to the Upanishadıc thought. How can the Chetana Brahman produce Achetana effect-matter, is the objection raised by the Sankhyas as well as the Jainas Sankara himself concedes to the fundamental difference between the two in his introduction when he speaks about the Adhyasa which is the root cause of Samsara and yet since he has to defend the Vedantic pantheism he seems to forget his own doctrine and uses his ingenuity to prove that it is possible to derive Achetana non-Self from the Chetana Brahman. How far he succeeds in his attempt is certainly an open question to be decided by the readers of his commentary.
THE DOCTRINE OF CAUSATION Kunda Kunda following the tradition of Jaina inctaphysics speaks of two different causes, Upadana karana and Nimita karana, material cause and instrumental cause. For example, clay is the material out of which the jar is made. In this case the material out of which the thing is made is the Upadana Karana. For transforming the clay into the Jar you require the operating agent, the potter, the potters, wheel on which the clay is moulded, and the stick with which he turns the wheel and so on. All these come under the Nimita karana or the instrumental cause.
