Shatkhandagama Pustak 01

Author(s): Pushpadant, Bhutbali, Hiralal Jain, Fulchandra Jain Shastri, Devkinandan, A N Upadhye
Publisher: Jain Sahityoddharak Fund Karyalay Amravati

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gigantic writer Jinasena, his pupil, who wrote the 40 thousand slokas of the Jayadhavală, the beautiful little poem Parśvābhyudaya and the magnificent Sanskrit Adipurūna, before he died. What a bewildering amount of literary effusion ?
The various mentions found in the Dhavală reveal to us that there was a good Literature before
before deal of manuscript material before Virasena, and he utilised it Virasena
**very judiciously and cautiously. He had to deal with various
recensions of the Sütras which did not always agree in their statements. Virasena satisfied himself by giving their alternative views, leaving the question of right and wrong between them to those who might know better than himself. He also had to deal with opposite opinions of earlier commentators and teachers, and here he boldly criticizes their views in offering his own explanation. On certain points he mentions two different schools of thought which he calls the Northern and the Southern. At present I am examining these views a bit more closely. They may ultimately turn out to be the S'vetambara and Digambara schools. Works mentioned and quoted from are (1) Santa-kamma Pāhuda, ( 2 ) Kasáya Pahudla, (3) Sammaisutta, ( 4 ) Tiloya-pannatti Sutta, (5) Puncatthi Pahuda (6) Tattvärtha Sūtra of Griddhapinchha, ( 7 ) Ácăranga, (8) Sãrasamgraha of Pujayapada, ( 9 ) Tattvärtha Bhäsya of Akala ukn, (10) Jivasa māsa (11) Chhedasūtra (12) Kammapavāda and (13) Daśakaranî samgraha, while authors mentioned without the name of their works are Arya-mankshu, Nāgahasti, Prabhāchandra and others.
Besides these, there are numerous quotations both prose and verse without the mention of their source. In the Satprarūpaņā alone there are 216 such verses of which I have been able to trace many in the Acāranga, Bribatkalpa Sutra, Daśvaikälika Sūtra, Sthänānga tikā, Anuyogadvāra, and Avagyaka Niryukti of the Svetambara canon, besides quito a large number of them in the Digambara literature. These mentions give us an insight into the comparative and critical faculty as well as the coordinating power of Virasena.
The Satkhandāgama, was reduced to writing, as told before, just at the time Relation with the
h when the whole Jain Canon was on the point of being forgotten.
In this connection it is important to note that according to the Canon, and the
Digambara tradition all the twelve Angns have been lost except six Khandas
these portions of the last of them i. e. Ditthivaya and a bit of the fifth Anga. According to the Svatambaras, on the other hand, the first eleven are preserved though in a mutilated form, while the Ditthi vāya is totally lost. Thus, to a certain extent, the two traditions mutually complement each other.
A look at the tables showing the connection of the present work with the original canon will convey some idea of the extraordinary extent of the Purvas in particular and of the whole canon in general. The section dealing with the twenty four subjects Kriti, Vedana and others was called in the canon MahakammaPayadi Pahuda. The same twenty four subjects have been dealt with in the present work which was called Santa Kamma-Păhuda, but which, owing to its six subdivisions