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BRHATKATHAKOSA - A LITERARY STUDY The Jaina poets in all humility declared that their main mission is to explain the religious concepts. But this spiritual mission did not prevent them from utilizing their creative genius and producing excellent literary masterpieces. Professor Keith observes, "The Jainas naturally enough aimed at vying with classical epic". Professor V.Raghavan also remarks "They vied with Brahmanical authors in recondite production in tours de force, the poems employing slesa and embodying two or multiple themes (anekasamdhana). And they not only excelled in this line but even overdid it. They were the creators of literary gems piled up in ocean like works of puranas and great epics. The Jaina writers belonging to some prominent order of monks possessed mission, devotion and dedication in their literary pursuits. They laid down some principles for the poets. Jinasena wrote that the poets should be well versed in the dictum of sastras and should adhere to the style of great poets. Possessed with intelligence they should compose such poems, which should include righteousness and virtue. Oratorical eloquence was regarded as the criteria for a good poet. The Jaina poets adopted these principles with some variations suitable to their ideals. They also incorporated the conventional currents of subject matter, descriptions, imageries and ornate poetic expressions belonging to classical Sanskrit literature. Many kathanakas of the Jaina commentaries were frequently written down as independent works and sometimes they were elaborated into ornate poerns

56 Winternitz rightly remarks "We must not forget that in the middle ages Jaina scholars and poets have a most considerable share in the development of Sanskrit language and literature" 6 It is seen that Jaina writers have been criticised on several grounds. As V.K. Nagar puts it, "Some common charges levied against the Jaina writers and their composition are that their poetic pieces are miserably obsessed with Jaina religious dogmas, that their themes are stereotyped, stale and concentric; that their poetic craft is sophisticated; their conservatism remains the spontaneous outburst of emotions. It is also said that the Jaina poets are copyists. The popular proverb that post is born but not made is a misnomer in the context of Jainas. This is why here pure nature poetry is a desideratum"? If we judge from proper perspective all these charges will be proved to be baseless V.K.Nagar while replying to these criticisms says, "It is also an admitted fact that religious art is concomitant to conservatism". No doubt Jaina Sanskrit works are simple and full of Jaina dogmas, but they do not lack a literary value altogether. The style may not be uniform throughout the work and they may lack the charmness of other great poetic works of Sanskrit literature, but in no way they can be ignored. As professor Hertel points out we are indebted to the Jainas for the simple prose suitable for the nature of narrative literature in Sanskrit. The vocabulary, the linguistic expression, the simplicity in their style, the narration, the skilful handling and modification of the well-known stories of Indian narrative literature, description of different people, places, events etc., are of extreme importance for researchers.

57 The Brihatkatha-Kosha is one of such works of Jaina Sanskrit literature, which needs a careful literary assessment. In this chapter an attempt is made in this regard. 鈥� The text is found to be very simple. A reader finds difficulty in understanding only when he comes across words which are not purely Sanskrit, but are desya or Sanskritised form of Prakrit. A reader has to equip himself with technical terms of Jain Yoga and philosophy and popular usage to understand the text properly. 鈥� In his stories the poet avoids repetition of a certain words and instead uses synonyms. For example, in the story Vidyullatadikathanaka he uses all the synonyms for horse (70.33,34,35,36,51,57,68) and in the story khandasrikathanaka, the synonyms of snake (65.55, 65, 75, 77, 79, 8, and 27.21- 28). Some vocabularies and expressions are repeated in the work which mar its poetic beauty. The words often used are - nandano janatananda, badhirikrtadinmukha, kandottadalalocana, tosakantakitangaka, tosahrstatanuruh, bhaktihrstatanuruh, and milyena parivarjitam. But these repetitions do not denote poet's poverty in vocabulary, as it is evident from the list of vocabulary. 鈥� Throughout the work we come across certain types of expressions being repeated In such cases we feel similarity of idea garbed sometimes in a different set of

58 dvijapahktiprabhabharasitikrtanabhastala 7.81), svatejobhirdhavalikrtakhavani (10.6), dyotitakasabhutala (10.16), ratnabharanabhabharabhavitakasabhutala (10.98),gunaranjitasallokayasodhavalitambara,(10.36) sitamuktasamanabhadantadyotitakhavani (45.2), Kirtivyaptanabhodharam gunaranjitabhutala (45.4), svanadapuritakasabhutala (57.52). Here, the idea is the brightness of teeth, fame, appearance etc. 鈿� The author while describing the beauty of ladies usually uses the following adjectives kandottadalalocana (6.3, 28.2, 78.215, 86.3 etc) nilotpaladalaksika (9.3, 30.2) visanadalalocana harinilolalocana (45.5) padmapatrasamanaksi (8.3, 55,129,46.113), uttaptakancanacchaya (5.3) uttaptakancanasanradyotitambara (10.7) baladityatanuprabha (12.1-2), garbhalasasarinika (55.139), kanakojjvala 94.3, 59.51), kanatkanakasadvarna (30.4), pinonnatakucadvanda (56.144), mattamatangagamini (96.54), brhannitambini (96.54), vivrddhakamalanana (55.139), pravuddhapadmasadvaktra (8.3), carvi (16.2, 148.1), uttungavaksoja 62.2, mukhanirjitacandrika (30.4), padmangipadmapanika (76.158). 鈿� While describing the beauty of ladies, he relies on simple comparisons like, kaminiva manobhivah (47.2), naginiva manohari (55.266), na sacyapi sama bhavet(29.2).

59 鈥� While describing the different mental states of the characters, he uses certain fixed adjectives like mlanavaktrasaroruh (4.51,57,60.71), vihvalibhutacetaska (55.29), sokatosasamayukta (46.60), sandehajadamanasa (46.119), girindrasthiramanasa (46.187), mandirasthiramanasa (52.25, 60.72), (72.78), kopasambhrantaraktaksi (27.77), koparunaniniksana (11.48), krodharaktaksa (23.24), bhrkutibhisanalika (11.48, 23.24), krpavadhuparisvakta (29.28). 鈥� While starting a story he presents the geographical details of the place and then introduces the main characters of the story with names signifying their nature and attitude. For instanceastyatra bharatksetre jambudvipasya daksine/ avantivisayah khyato dhanadhanyavadhujanh // (5.1) asti desetra pu ramya ramariramanah kulaih/ rupasaubhagyasampanna munamujjayini subha //(5.2). Of course, stories numbering 61 to 70 are exceptions. These stories start with a dialogue (questions and answers) between husband and wife. The man by way of answering the question posed by the lady, starts telling the story. In some stories he appeals to the readers to listen attentively and then narrates the story. (63.1; 102 (9).1; 102 (10).1)

60 鈥� The author usually concludes a story talking about highest spiritual success attained by the main character and explain the cause of failure of others in this regard. For example vidyuccaurasciram taptva tapah karmavinasanam/ vidhina mrtimasadya babhuva vivudho mahan // sankanvitasya viprasya na vidya siddhimagata / vidyuccaurena sa ksipram sahkahinena sadhita// (4.69-70) Vidyuccara, even though a thief could attain siddhi because he was free from doubts or fear (samka) But the Brahmin could not achieve the same as he was endowed with the same i.e. doubt and fear. After the narration of a story the author tells how a particular important spiritual event in the life of the noble character of the story had impact on the common people. The author indirectly advises the readers to follow the example set by the noble character of the story. For example, jinabhaktim param drstva haradanam surena ca/ Sriva bhugocarasyapi srentkasyendravarnanam // kecit parigraham hitva bahyabhyantarabhedagam/ mahavratadharah dhirah babhuvuh sramanastada .// (9.39 -40: cf 11.58; 47.22-23;72.109-110) Here author narrates how the extreme devotion of the hero could please the god and it brought him a reward in the form of a hara. Witnessing this achievement

61 many people undertook vratas and became sramanas. By telling this, the author indirectly advises us to follow the suit. At the end of a story and sometimes in course of narration the poet inserts Jaina teachings. He cites example of the main characters to justify the teachings. He presents quotations (noble sayings) from other texts also to substantiate the teaching yarha dosavihinopi gunavan lokapjitah / kailalasangato rajna vipro nirdhatitah purat.// taina sadhurapi kipram tapasvi samyami guni / nirdosi dosamayati sphutam durjana sevaya // (31.33-34) tatha coktam na stharavyam na gantavyam sahatra dustakarmana / saunahash sah payah pitam varunim manyate janah // (31.35; c拢 4.69-70; 19.34-35; 23.33-35) Most of the stories end in the attainment of the highest spiritual success by the main character of the story (4.69). The poet shifts to a new story after the completion of one usually saying - "dam prakatamanyacca karanam tavaducyate "(12.76) or "evem hi gacchatastasya nagaradikam adarat idamanyacca samjatam prakatam ksitipalinah" (55.35).

62 The author links the present story with a new one through such expressions and shifts to a new story. 鈥� The entanglement of stories (story within story technique) common to all narratives is seen more or less in every story. 鈥� The narration is interrupted by long lists of names (example 59.1-6), definitions of different types of wealthy men like ibhya etc. and various settlements like dronamukha, matamba, karvata etc (87.5-7, 94.14-17), division of time (99.14), description of target-shooting contest (stories 43,57,116) etc., merits of various rites (i.e. upavasa -57.515-520) and so on which may not be interesting for the story lovers. 鈥� Supernatural elements and exaggerated facts which are common in Indian narratives are seen in many stories (18.5, 52.6, 59.105, 65.60, 66.10-12, 66.98, 71.23, 80.36, 89.6, 93.85-86, 158, 181, 96.6-7 etc.,) 鈥� In spite of the simplicity, his language is elegant and beautiful. To quote fewmanovega vacah srtva munigupto babhana tam nartayan sikhino vaca ghanakala visamkinah About a prostitutekamilokamrgalokabandhanayaikavagura (10.5)

63 About the samsarakrodhanirabharapurne mananakrabhayankare / mayasamutthakallole lobhavelavisarpini // (6.25-26) While describing the state of dilemma and indecisiveness of a character, he writes - tad vaco vistaram srtva dadhau vismitamanasa / supratisthastada khinnah kimkarttavyavimudhadhih// ito vyaghrah samayati itastisthati dotati / tto lokaprabhutvam me ito vidyasamagama // (19.31-32) 鈥� The text is full of lively descriptions which attract reader's attention. For exampleDescription of a city atha saudhaih sudhasuklaih sanuai rapi sobhanaih / apanairdhanasampurnath pauralokasamavrtaih // parichatoranaih ramyai scaturgopurakai rapi / prakaravapikodyanavanai rapi manoharaih // vitanadhvajamalabhirnanavastraih prasaritaih / rajamanam puram cakre supratisthitah svavidyaya // (19.51-53) Description of a yogi atha parasaro yogi pancakurcahatatmaka / jatichatribrsiyukto ganitrikundikanvitah // yajnopavitasamyukta padukayuktasatpadah / dirghamargasamasranto gangatire vyavasthitah // (96. 44 - 45)

64 Description of a war asvalh rathagajaiscitrairbhatairapi sasambhramaih / sahitam celatusturnam gamgadharamahidharau // sainyadvayamapi praptam krtanyonyamaharavam / nanayudhakrtodyotam vaitalikakalasvanam // gajo gajena samlagnasturangena turangamah / ratho rathena ca ksipram bhatenapi bhato rusail evam mahati samyate sangrame bhayadayini / parasparakaladhvanapunitakasabhutale // kenapi varuno dhvastah kenapi ca turangamah/ rathasthena ratho banaih padikopi padatina // (33.117-121; 56.290; 67.16-21) Similarly description of a svayambara (57.43-57), of a dog (34.17-19) etc. are interesting. The author's poetic ability is manifested occasionally in some ornate verses, composed carefully, such as kuvalayanavadalasamarucinayane sarasijiadalanibhavara karacarane/ Srti sukhakaraparabhrtakalavacane kuru jinanutimayi sakhi viduvadane // (10.52)

65 Naming: We come across innumerable names of persons and places in Brihatkatha-Kosha Here are some observations in this regard. 1. Certain proper names such as Rajagrhapura, Srtasagara, Sagaradatta, Kanambi are repeated in different stories. i. The author refers to the proper names by splitting them into parts and placing them in a different order usually for the compulsion of the meter viz. dattanta sagaradika (45.5) by which he means to mention the name as sagaradatta. Similarly, desantat vagaradikat for vagaradesa (2.3), latanta kanakadi ka for kanakalata, candropapadika guha for candraguha (16.2). ffi. He shows a tendency to repeat a part of the name, usually last part, using it as an adverb or an adjective which incidentally bring in the charm of yamaka or anuprasa. For example muniguptena guptena (7.86) manovegena vegina (7.91) iv. In a story the poet prefers to use all synonymous terms of a name. For example, in the story vasudevakathanaka (29) the king is named as Vasudeva. But in course of time, instead of sticking to the name in the same form, he goes on using the synonyms of it, Narayana, Hari and so on. v. Some proper names show Prakrit sounds. For example, cilataputra (140.1), kekayi (84.3,12), vanarasi (67.3).

66 vi. Sometimes the narration is interrupted by a long list of names of both important and unimportant characters in the story (57.22-24, 59.1-6, 63.92-93). This obviously spoils the beauty and causes fatigue for a reader. vii. Names are symbolic of the appearance, nature and attitude of the person or the place concerned. For example, the names of a painter and his wife citracitrakaras tatra vicitro nama visnah vicitradipadakanta tadbharyapi babhuva sa.(14.2) Names of a Sresthin of sea-trade and his wife Sagaradatta and Sagaradatta (45.4-5). Name of a raksika (security official) tasyamaraksiko nama yamadandah yamopamah babhuva bhasurakarah bhisayan sakalam janam. (45.3) While naming, the poet enumerates the person's physical characteristics. For example, the golden complexioned lady Vidyutvega is described as uttaptakancanachayasanira dyotitambara (19.7). Similarly, description of Kanakashri's golden complexion kanatkanakasadvarnasarirachavirajita (30.4)

67 viii. Sometimes the members of a family bear similar names with little variation. For example in the story celanamahadevikathanaka, the name of the king is Visakha, his queen Visakha and their son Vaisakha (8.2-5). 鈥� Characterisation : The poet displays his skill in characterisation. We come across several types of characters in his stories. The treatment of wicked women, which is common in all Jaina stories, is indeed lively. For example, we hear of a Purohita's wife, attracted by the personality of Sresthin sending secretly a message to him to come to her house. When he came and inquired about her husband, a friend of him, she showed him the interior room and told that he was asleep there. He went inside and found nobody. Then she expressed her intention and asked him to reciprocate. She threatened yadi necchasi mam bhuyo bhanitopi tato drtam / karapayami te sighram maranam niyatam naraih // (60.47) The poor Sresthin escaped telling that he was an impotent (60.47-49; cf. 33.5-6) Similarly the description of a Sresthin attracts reader's attention (60.82-84). 鈥� Modification of stories: The poet is efficient in handling the narratives, well known in Indian narrative literature. In some cases he skilfully modifies them to suit to the Jaina ideology. (Stories No. 83,84,93 and 11.131-140).

68 鈥� Motifs : Various motifs which are grouped under conventional captions" 10 , such as Biter bit (Nos. 64, 72). Wicked ascetics (Nos. 19, 64, 93, 102) Sibi motif (No. 85.7) pistakurkuta (No. 73) Elephant selecting a heir (No. 56.258), Pregnancy whim (No. 56.155,106.129), Human sacrifices (No. 73), proclamation by drum (No. 57.210), Immediate causes of renunciation like a transitory cloud, a grey hair etc. (57.452, 574) are found in the stories of the Brihatkatha-Kosha". 鈥� Peculiar forms : We come across certain peculiar forms, viz. Samipyata (a compromise between samipya and samipata (93.212), manusya (a compromise between manusya and manusa), 鈥� Usages : Some words are used in an unusual sense. For example, devanam vallbha (25.24, also devapriya 73.133) is used in a positive sense where as it usually means a fool in Sanskrit texts. In the sense of hugging, angalagnam dadau (157.73) or ksemam dadau (70.69) are used. Similarly adhyaksa in the sense of samaksa (53.7, 71.37) mandala in the sense of a dog (34.11, 55.297, 57.168, 58.13, 73.44), maithunika in the sense of brother-in-law (12.38, 47.8, 97.25), pathaka in the sense of teacher, the word yutha with men (110.21), milyena parivarjitam (10.6, 16.25, 28.20), in the sense of precious, draw readers' attention.

69 " The author has an attitude of using both vidhaya and kstva (105.49), alpa and manak (73.42), sadya and asu (127.227), sarva and sakala (68.63), sobhanam and yujyate ( 106.128) in one place. Some other category of usages are gamanam na me puryate (paryte) (7.48) in the sense of inability to go, visati no sphutam in the sense of inability to grasp and understand (10,87). vakyam karomi 913.9) and na karomi matim matuh (33.49) in the sense of obeying or carrying out the command, vidhatum dadami (54.24) and gantum dadami (59.56) in the sense of allowing to do something svamate patayitva (76.162) in the sense of making someone agreed with one's own opinion, and visvasa sarasam vidhaya (76.34) - 'sarasam' in the sense of properly/absolutely. Few well-known usages of Epics and classical Sanskrit works are noticed here and there. Examples - 'na bhuto na bhavisyati" (of Ramayana), 'na yayau na tasthau' ( of Kumara sambhavam), 'snehah navikrtah' similar to that of 'klesah phalena hi punar navatam vidhatte' of Kumarasambhavam. 鈥� Meter : Most of the verses contained in the Brihatkatha-Kosha are composed in the meter anustubh. Besides this, some verses are composed in arya (10.53, 12.147), upajati (15.16, 32..28, 157.59), vasantatilaka (157.60), upendravajra (157.55), Indravajra (10.78, 57.298, 157.58), dodhaka (57.6), upagiti (10.54). Many verses are found

70 to be metrically faulty (22.36, 34.2, 47.48). In some verses some words are repeated deliberately for metrical purpose (67.3). 鈥� Figures of Speech: Occasionally his verses are embellished with different figures of speeches. To quote few Upama Utpreksa: anyonya premasambandhatustamanasastayoh / babhuva parama maitri mayiraghanayoriva // (32.12). dhmayamanam yatha lauham malam tyajati savratah/ vratopavasatoyena tatha papmalam tyajet // (57.518) evam vijnaya tam varttam satyena parivarjitam / rohini sadhutopeta vajreneva samahata // (88.6). vacah kuveradattasya nisamya vasudhadhipa / babhuva bhasurakarah sarpiseva tanunapat //(82.38), mukhena kamalam candram nadena kalavallakim / jayanti kokilamasit sindhudevi sutanayoh //(33.53). manovegah vacah srtva munigupto vabhana tam/ narttayan sikhino vaca ghanakalavisankinah // (7.10)

Ripaka: 71 sukiadhyanagajarudho vratakankanabhusitah/ guptutthitasitacchatrah samitisukiacamarah //(46.48) tapobanena satena siraschitva yasodharah/ sansarapratipaksasya pravisat siddhipattanam //(46.49). 鈥� Vocabularies : The text is usually liberal in its use of new words and expressions. Lexicographers and grammarians know some of these. Others are to be understood more or less through context. Here it is relevant to quote Professor Bloomfield's remark on Jaina Sanskrit, "A number of words remain unclear and altogether unintelligible"12 鈥� Grammatical peculiarities : While commenting on the language of Pancatantra, Hertel remarks, "The Brahmanis, Buddhists and Jainas wrote a Sanskrit more or less incorrect and 13 influenced by popular language". His observation appears true when we go through the Brihatkatha-Kosha A number of unpanian forms are noticed throughout the work Some important grammatical peculiarities are recorded here Compounds: varatraropitaskanda (28.25) in place of skandaropitavaratram 14

72 jayanandakrtasvanah (85.22) in place of krtajayanandasvanah matrpitr (11.133) in place of pitarau sariram dahanam (55.285) in place of sariradahanam niryatah srimadujjayinibahih (150.36, 45) - here the compounding with the term "bahih" is peculiar : ka - suffix: 15 The use of 'ka' suffix with nouns as well as pronouns is found abundantly*鈥� Examples: takah = tah (2.37) take = te (69.28) makam = mam (106.60) varakaka = varaka (93.153) takkaka = takka (63.97) bhandaka = bhanda (63.191) Gender and cases: Peculiar forms of words particularly in feminine gender and in some cases (karaka) are noteworthy jatismar for jatismara (127.250) manohari for manohara (55.266) purahsari for purahsara (57.55) dvadasain for dvadasabhih (157.16) nrrajan for nrraja

73 Tense : Roots: The word 'arat' governs genetive instead of ablative (16.45). The peculiarity in the use of roots in certain tenses is worth mentioning Examplesbhavet (105.28) and sydt (75.100) are used denoting past tense. the use of certain roots is peculiar viz. vis麓- to understand or know (10.87) gai - to speak (10.105) Peculiarities can be noticed in the following usages labhisyati for lapsyate (20.1), karapayata for karayata (23.29, 25.27, and 46.23) marami for mriye (33.90), sisyapitah in the sense of siksitah (35.7, 12.60). Suffixes : The peculiarity in the form of following words with the use of different suffixes may be noticed snapya for snapayitva (56.260) vyapayitva for vyapya (12.128) uccaran for uccarayan (11.132) nindati for nindanti (14.28)

74 Conjunction: Erroneous conjunctions are noticed here and there. For example - adyameva for adyaiva 鈥� Prakrit influences: Texts in Jaina Sanskrit never escape Prakrit influences. This has been observed by Jacobi, Weber, Bloomfield and Tawny in their words. Particularly the text Brihatkatha-Kosha being based on a Prakrit commentary of the Prakrit text Bhagavati Aradhana of Sivarya, large number of Prakrit words as well as Prakrit back formations into Sanskrit are found. Examples Prakrit words: atta (19.68) for the Sanskrit word apta, kaccha (57.548) for Sanskrit word kaksa, kajja (60.123) for the Sanskrit word karya, Ujjavana (57.548) for the Sanskrit word udyapana. Prakrit back formations: bharate vasye (6.1, 57.471, 59.1, 78.222, 110.13, 115.1, 134.26, 142.1) is the back-formation form the Prakrit bharahe vase which is bharate varse in Sanskrit. This occurs frequently in the text. aryika or arjika (4.43) from the Prakrit word ajjiya. vikurvana (7.84, 11.120, 51.15, 97.81) from the Prakrit viuvvana. kamsala (12.139) is a Prakrit contraction of kamsyatala.

75 sikva (4.23) usually spelled as sikya is from the Prakrit word sikka. prasuka (7.95) is from Prakrit form phasuya, which is in Sanskrit prasuka meaning 'free from living beings'. Similarly vairakumara (12.1) for vajrakumar, vayamsaka (12.420 for vayasyaka, grhilla (17.7) for grahilla (possessed by a demon), sravita (107.13, 28.22) from sapita etc. are also noteworthy. Interchange of 'ya' and 'ja' It is seen throughout the text. Examples jato for yato (78.44, 106.238), yamadagni for jamadagni (122.26), parijata for pariyarra (77.1).

76 NOTES AND REFERENCES 1. Padmapurana, 14.106. 2. A History of Sanskrit Literature, p.142. 3. The Adyar Library Bulletin, vol.xxxviii, intro. 4. Adipurana, 1.74; Kavyalamkara, 1.19.21. 5. Adipurana, 1.99. 6. The Jaina in the History of Indian Literature, p.82. 7. Contribution of Jainism to Indian Culture, p.70. 8. Ibid. 9. On the Literature of Svetambaras in Gujurat, also quoted by Winternitz, opcit. 10. Bloomfield, Parsvanathacarita, The Life and Stories of Parsvanatha, p.183. 11. For the occurrences of these motifs in the Brihatkatha-Kosha See section Leading Fiction Motifs in Jaina Stories. p.30. 12. The Life and Stories of Parsvandtha, p.233. The language of the medieval Sanskrit texts composed by Jaina authors from Gujurat and round about are critically studied by scholars like Weber, Jacobi, Hertel, Bloomfield and Upadhye. The readers may refere to their works for detailed discussion on various aspects of Jaina Sanskrit.

77 13. The Pancatantra text of Purnabhadra, pp. 31-36. 14. Ibid. p.18. About such usages Hertel's observation is noteworthy. He says "Most of the so called anomalies in the works of luler Sanskrit writers must be regarded as correct language prevailing in their own time". Quoted by Winternitz in The Jainas in the History of Indian Literature, p.82. 15. Panini enjoins 'ka' mainly on four occassions : i. in the sense of the word itself (svartha). ii. in the sense of smallness (alpartha). iii. in the sense of similarity (sadrsya). iv. in the sense of contempt (kutsa). (sitra 3.4.5)