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so on. This is not all. All these stylistic patterns of our expressions depend on how our thoughts and ideas are communicated to a person; on how a person utters his speeches, following any stylistic patterns. His utterances may be balanced and symmetrical, anal ogieal and diffused, verbose and densed. Sometimes the style may be humourous, rhythmic and emotional, interlocutory and rhetorical; their expressions may be seriocomic, antithetical, and pieturesquc'. Even then our modes of expressions are not limited with these patterns. They are innumerable, multi-phased; they are anekānta. And all these modes of expressions are correct and are recognised in our ordinary speech. This idea is expressed by Mahāvīra in the language -
ņa esā bhāsā mosā, 'this language is not false.
In explaining certain grammatical niceties, the Jains raised some fundamental questions on the meaning of calamāne calie. Almost at the very beginning of the Bhagavatī-sūtra (Book I, ch-1), Goyama, while Mahāvīra was at Gunasīlaka caitya in Rājagsha, asks Mahāvīra the very fundamental linguistic problem of calamāne calie. The text runs as follows:
calamāṇe calie, udīrijjamāṇe udīrie vedijjamāṇe vadie, pahijjamāņe pahīņe chijjamāņe chiņne, bhijjamāṇe bhiņne, dajjhamāṇe daddhe, mijjamāņe mae, nijjarijjamāņe nijjīņņe.
ee ņam cattāri padā egatthā ņāņā-vamjaņā uppanna-pakkhassa.
ee naṁ pasca padā ņāņā-vamjaņā vigaya-pakkhassa. [Bh. Sū. I. I. 11-13]
[ Is it proper to call] moving as moved, fructifying as fructițfied, feeling as felt, separating as separated, cutting as cut, piercing as pierced, burning as burnt, dying as dead, and exhausting as exhausted.
“These (first] four words arc of the same import, though of different sounds and different suggestions.
These five are of different imports, different sounds and different suggestions.'
Apart from its philosophical implication on Karma-theory. this passage has a linguistic implication as well. The expressions calamāne calie have two tenses in one breath. Grammatically calamāne (moving)
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