Gleanings from the Kuvalayaml Kah--II Author(s): Alfred Master Source: Bulletin of the School of Oriental and African

Studies, University of London, Vol. 13, No. 4 (1951), pp. 1004-1016 Published by: Cambridge University Press on behalf of School of Oriental and African Studies Stable URL: http://www.jstor.org/stable/609028 . Accessed: 13/08/2011 08:19
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Gleanings from the Kuvalayamala Kah--II

By ALFRED MASTER
SPECIMENS OF PROSE APABHRAMAA AND MIDDLE INDIAN MIXED WITH SANSKRIT

Section 1. General Apabhramsakavyatrayi (AKT) (edited with Sanskrit Introduction, Notes, and Appendices by the Jain pandit Lalchandra B. Gandhi) in 1927, the existence of prose Apabhramsa was unknown. This work, however, able though it is, is not much utilized or even consulted, and the extracts from the Kuvalayamala Kaha, which he uses as illustrations, have never been discussed from a linguistic point of view. The whole of the Kuvalayamala (as it is also called) has never been published, and it is an original work of linguistic importance. The author, Ujjoana or Ud(d)yotana, was the son of Vadesara and grandson of an Abhira notable, a Ksatriya, who performedthe Three Duties in Mahadvara (Dvaraka ?)-- si tikamm' Ahiro Mahdduvdrammi khattio pagado Ujjoano tti ndmam. Uddyotana was a Jain acarya of the Candrakula, and even if he was not the pupil of the famous Haribhadra suri (author of the Samaraicca Kaha and many other works), as Jacobi believes (Sama. Intro., x, n. 1), he was acquainted with his books and was influenced by them. He refers to the spread of the Jain religion in Gujjara-desa, and mentions Bhillamala (Bhinmal) and Javaliura (Jalor) in what is to-day South Marwar. The mention of these places, and his Abhira descent, indicate that his own dialect was that of the Gujjaras, which he numbers among the Eighteen Desibhasas (see " Gleanings from the Kuvalayamala Kaha, I ", ? 5, BSOAS. xiii, 2, pp. 410-415). The intention of his book, which was completed in A.D. 778 or 779, is primarily to honour Jina and secondarily to illustrate the current languages and dialects of the day. In J 3 V la 1 (AKT. Bhumikd, p. 91, n. 1) he writes:" Pyaya-bhasa-raiya Marahatthaya-desi-van niaya-niivaddh , suddha sayala-kaha cciya tavasa-Jina-sattha-vahilla. kofuhalenakatthai paravayana-vasena Sakkaya-nivaddha, kimci Avabbhamsa-kaa, daviya Pesaya bhasilla." "Composed in the Prakrit langdiage and written in the desi Maratha characters, it is a pure Sakala-katha 2 conveying the sacred precepts of Jina the ascetic. It is curiously composed, in some parts in Sanskrit under the and the influence of alien expressions, to some extent it is done in Apabhrapmsa
1 For a description of the MSS. which have been used in editing the extracts here given and of the reference signs used for J see " An Unpublished Fragment of Paisaci ", BSOAS. xii, 659. A photo-copy of this MS. may be seen in the Library of the SOAS. 2 For the meaning of Sakala-katha see the Excursus.

NTIL the publication in the Gaekwar's Oriental Series XXXVII of the

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Paisaci language has been demonstrated." In J 252 V 2b (AKT. Bhu., p. 91, n. 2) he writes :"Jo janai desi-ohasa-olakkhanai1 dhau ya vayanaya-gaha cheam Kuvalayamalam pi so padhau." "He who knows the characteristics and roots of the country dialects, let him read the Kuvalayamala ingenious with linguistic gathas." His real object then is clear. He wrote to entertain his readers and his treatment is not scientific. But his approach is new and although he does not pose as a grammarian, he remains aware of the need of accuracy and later in J 252 V 4b declares that his " lapses in gender and case and the absence of syntax " must not be ascribed to (li.mga-bhinnam,vibhatti-bhinnamkaraya-vihiTnam) Hridevi, who has been his inspiration. ? 2. The Poor-house

The extract following is contained in J 43 R 6a-b. It relates how the Prince, who is the hero of the tale, arrives at a poor-house in Mathura, where the poor and infirm are cared for. After a preamble in Maharastri,the Prince converses with the inmates in Apabhramsa prose. This is a lingua franca of a colloquial, not a literary type, as it is spoken by broken men of a low social status, and very different from the types of language spoken by the novices of the Monastery, which the Prince visits subsequently. It contains no Magadhisms, and is quite distinct from the low-class language represented by the dramatic Magadhi, of which we have the earliest specimens in the fragments of Asvaghosa's play (dating from the second or third century A.D.) found at Turfan. It is a sign of Uddyotana's quality that he has not followed the lead of the dramas. J 43 V 6a (AKT. Bhu. 108) (1) Sayalam puhal-mamdalam paribhamiiunasampatto Mahuraurie. Ettha ekkammi anaha-mamdave pavittho. Avi ya tattha tava miliyalae kodie, balakkha-khaiyae, dina, duggaya, amdhalaya, pamgulaya, mamdulaya, madahaya, vamanaya, chinna-nasaya, todiya-kannaya, chinn' otthaya, tadiya, kappadiya, deviya, titthayattiya, leharaya, dhammiya, gugguliya, bhoya, kimca bahuna; jo mau-piu-rutthellau, so so savvo vi tattha miliellau tti. Taham ca tetthu milielaya-saha samanaha ekkekka maha alava payatta. "Bho, bho! kayarahim titthe de[ve] va gayaham kayara vahi pavam va pittai " tti. (2) Ekkena bhaniam, "Amukka Vanarasi-kodhiehim; tena Vanarasi gayanam kodhu pphittai" tti. (3) Annena bhaniam "Hum, hum ! kahiu vuttamtau tena jampiellau ! kahim kodham, kahim Vanarasi ? Mulatthanu bhadarau kodhaim je dei, uddalai 2 loahum."
1 Gandhi reads desiu hidsu (better deszo bhdsao), which is also possible. J. Koddhie with dh in another hand; elsewhere kodhi-. P 2 phittai. 3 J bhodhaim je dei uddali.
2

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(4) Annena bhaniam. " Re, re ! Jai Mulatthanu dei, uddalaijjam kodhaim ta punu kaim kajju appanu kodhiallau acchai ? " (5) Annena bhaniam. " Ja na kodhiellau acchai, ta na kaim kajju. Mahakalu bhadarau chammasa-sev' anna kunai, jena sulahejje phittai." (6) Annena bhaniam. " Kaim imena ? Jattha cira-parfudha-pau phittai, tubbhe uddisaha tittha." (7) Annena bhaniam. "Prayaga-vadapadiaham cira-parudha paya vi hattha vi phittamti ?" (8) Annena bhaniam. "Are! pava pucchiya paya sahahi ?" (9) Annena bhaniam. "Khedu mellaham; jai paramaim piivaha-kayaim pi mahapavaim Gamga-samgame nhayaham Bhairava-bhadaraya-[paya] padiaham nasai tti." (1) Having wandered over the whole earth he reached Mathura. Here he entered a certain poor-house. And so he met there white lepers, consumptives, men distressed and indigent, blind, crippled and weak-witted, squat men, dwarfs, men with cut noses, with clipped ears, with their lips cut off, men bewitched, ragged friars, devotees, pilgrims, messengers, monks, incensebearers, debauchees and, in short, every man who had offended his parents was found there. And he addressed loud words to each one of those assembled there, " Good sir ! At what holy place or god, when men go to them, is disease or sin destroyed ? " (2) One said, "Some by the white-lepers at Benares; thus the whiteleprosy of those who went to Benares is destroyed." (3) Another said, " Tut, tut ! What tale is this that he has told us ? What has leprosy to do with Benares ? The Great Spirit, the Holy One, who gives leprosy removes it (from) among mankind. " (4) Another said, " Oh, oh! If the Great Spirit gives, he should remove attacks of leprosy. Still what use is there in being in the slightest degree leprous ? " (5) Another said, " So long as one is not leprous, 'what use' is not in point. Holy giva ordains service for six months, by which severe penalty (the disease) is destroyed." (6) Another said, " What does this avail ? When sin (pdu) long-developed is destroyed, do you advise a tirtha ? " (7) Another said, " Are the long-developed feet (paya) and hands of pilgrims to the Prayaga banian-tree destroyed ? " (8) Another said, " Oh! when enquiring about pdva dost thou speak of paya ? " (9) Another said, " Let us lay aside our care, if the chief great sins, parricide even, are effaced when men who seek the feet of holy Bhairava bathe in the confluence of the Ganges." Traces of Apabhra.msaare to be found in the latter part of the narrative introduction. Taham gen. pl. of the demonstrative pronoun, the gen. pl. ending -aha and tetthu, the local adverb, are all recognized by Hemacandra,

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and are common in Apa. texts. The -u in rutthellauand miliellau may, however, be read as -o, since J does not differentiate between the two sounds, except sometimes by a hardly perceptible thickening of the serif. The series following -khaiyae might be interpreted as ending in the Apa. m. pl. -a, but as the last word is bhoyd with the Prakrit long -a, the words probably constitute a long dvandva compound, in spite of the fact that the MSS. separate each word by a vertical stroke. The ending -e, representing the nom. pl. m. and not the acc., is found elsewhere only in Asokan (Shah.) samaye, nikaye. Here it occurs only after a vowel, the usual -d being retained after a consonant: bhoyd. P 2 regularizes with -ya. As an alternative to considering -e as an acc. used as nom., we may take -e to be a phonetic variation of -ya, as in puttde for puttdya in AMg (GPS. 1 363). The enlargements -alaya, -ula-, -dla-, -ella-, -ela in the Maharastri and also -alla- in the Apabhramsa are interesting, not because of their rarity (see GPS. 595), but because so many variations are used in one passage. This seems deliberate, as a demonstration of language. The author has, however, omitted illa- (-ila-), which he uses elsewhere (bhdsilla). The conversations have -u for -o, -a for -a, nom. m.n.pl., -aham, -dham for -dnam gen. dat. pl., -ahi for -asi 2 sg. pres. ind., -aham for -amha 1 pl. impv. In Prayaga it is natural to suspect the intrusive r, which Hemacandra notices IV 399. This has been considered as secondary (Pischel), dialectical (by some) or tatsama (Alsdorf). Here the retention of the g supports the view that the word and therefore the unexpected r are borrowed. Loahum(para. 3) a functional ablative from loesum via *loasum. L. Alsdorf (Harivamsapurana 82, 17, 7) reads loyaham (gen. pl.) where an earlier transcribed MS. has loyahum. The passage runs better as mahum mdmaho dhuyau jettiyau, loyahum pa.divannau tettiyau, "As many daughters as my maternal uncle had, he bestowed abroad." Alsdorf translates " gab er (anderen) Leuten ". Here a locative is to be preferred to a genitive used as dative.
VOCABULARY

(1) andha-mamdava; the ancestor of the andthdirama or poor-house. kodie; this word, which has been altered to koddhie,subsequently occurs only as kodh-. The Paiasaddamahannavo (PSM.) gives the meaning as durjana must be intended here, as P 2 reads. The Prakrit (kautikadishonest), but kodh7form is generally kodh-; the alternatives koddh-,kotth-,kutth- and Skt. kusth-, koth- suggest borrowing, with rebuilding into Sanskrit by means of the roots ku and stha. The borrowing may be from Telugu kottu sickness, which belongs to a regular Dravidian series, Tamil kurram, Kanarese kutta being the other members, the primitive form being *korr-. There are other Telugu borrowings, the possibility of which was first indicated by Jacobi in his Introduction to the Bhavisattakaha.
1 GPS, Pischel, Grammatikder Pr4krit-Sprachen,

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from balaksakksa-kyin + ka means " wasting from balaksa". balakkha-khaiyae This word the Lexicon translates as " whiteness ". Telugu has balaksayamu loss of strength, from Skt. bala-ksaya. Skt. ksaya, Hin. chal, Guj. khaT phthisis, do not use bala. The secondary meaning " white " is paralleled by the western expression " white plague ". Apte's lexicon cites a passage from the Sisupalavadha in which the word is applied to ivory. In our second extract the word is written balakkhaiyae,which can hardly bear the secondary meaning " white ". madahaya; Paialacchi chuttam, lahuam; Hem. Des. vi, 117 laghu, so " small, slender ". Indian scholars derive it from patrdbhaleaf-like. We find also vadabha, va.daha in AMg, e.g. Khujjahim vdvani va.dabhibabbari . . . him in the Nayadhammakaha (Stein, ? 117), and khujjd ya vadabhdya vamand ya (Panh. i, 7, B. D. Jain, AMg Reader No. 7, 7). The association with khujja hump-backed, vdmana dwarf, etc., suggests deformity and we may hazard "short " or " lean men ". Kofkani is the only Neo-Indian language to retain the word in motavo baixote, aca9apado, i.e. low in stature, squat, which are excellent meanings for madahaya. Telugu baduvu, Kanarese badavu, bada thin, dried-up, are from old Dravidian roots and may have contributed to the formation of the word.1 tadiya; the translation is uncertain. Gandhi's chaya tatikdh (?) is merely formal. The meanings " beaten men, lightning-struck men " are unsatisfactory. Again, Telugu ta.dacharm, giving the meaning of " men bewitched " would fit, but is unsupported. Hemacandra's tadai stretches, iv, 37, does not help. lehdrdya (P 2 lehdriya) from lekhahdraka; Jacobi, Aus. Erz. has lehdriya, lekhdcdrya? Schreiber (scribe), which Meyer (Hindu Tales, p. 141) accepts, deriving from *lekhakarika, but adds that the dipika has duta. Alsdorf, Hari. 84, 11, 11 translates lehdraya by Kurier, although he has lekhakdraka Schreiber, Sekretar, in his vocabulary. The meaning Kurier messenger, modern caprdasis to be preferred. gugguliya from guggula incense, see PSM. and Sama. 436, 18, Guj. gugu.l temple-servant. bhoydfrom bhogin+ ka dissolute person; there are many other (less likely) derivations. pittai; the spelling of J, found also in Hala's Sattasai: makkado . . . pottham pittai the monkey beats (or stuffs) his belly; ND pitnu. P 2 has phittai as in the remainder of the extract. This is intransitive in Neo-Indian phit- or phit-, meaning " to be injured ". Pittai can be compared with Tel. pettu to thrust, a blow (also Kan.), while phittai is a denominative from sprsta, *phittha with the last syllable deaspirated by way of dissimilation (cf. Grassmann's Law). Here, however, pittai should be regarded as a variant of phittai. (2) amukka, a rebuilt form not found elsewhere in Middle Indian, but transmitted to Neo-Indian amuk, though spelt with short u as in Sanskrit. (3) kahiu < *kathikam a formation from katham.
1 Kon. motavois a hybrid form from *matabha,with rather rare developments, so that without further demonstration the derivation cannot be accepted with certainty. The derivation from patrdbha is equally difficult for both ma4aha and mot.vo.

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(4) appdnu < alpa + anu not dtman,see Als. Hari. vocab., and cf. alpalpam. (5) sulahejje < suilabhedye; it is not clear what Gandhi reads and his chaya mulddevais also obscure. Were it not for the fact that P 2 reads milahojje, it would be tempting to emend to -jja " the pain of the disease is destroyed ". But isla has a specific meaning " colic ". Mula- is an optional a tax or reading. For bhijja (bhejja) PSM. gives kara-visesa, dan.nda-visesa penalty. Malahejja therefore "basic or radical penalty ". Is this a milder form of Bhairava-ydtand,a sort of purificatory torment inflicted by Bhairava of Benares on those who die there, to make their spirits fit for absorption by the Supreme Spirit (Apte, Lex.) ? (7) -padiaham; Gandhi Sanskritizes as patita-, so also PSM. citing dgayamaggenapadio from the Vasudevahindi, which seems to be equivalent to Guj. rastepa.dyohe took the right path. It comes perhaps from pratita, which would fit better with (9) (pdya) pa.diaham.
GENERALNOTES

The scene is set at Mathura, the centre of Surasena, yet the language spoken is Apabhramsa, not Sauraseni. This emphasizes the view which is borne out by other facts that these dialects were of a social, rather than of a regional character. Magadhi may be termed the Apabhramsa of the drama. Mulatthanu (3) meaning the Supreme Spirit is primarily a Shaivite term. Mahakala (5) is Siva as the Destroyer (of evil). Prayaga-vada (7)-The aged banian tree at Allahabad is still famous. Bhairava (9)-Siva the Terrible. The author, who is a Jain, emphasizes the Hindu character of the inmates of the poor-house, by reticence, very unusual in Jain authors, about Jain dharma. ? 3. The Monastery The Prince, continuing his travels, reaches a monastery (madha). Its position is not stated in the immediate context, but other details are given, which show that the position is of little importance. There is a reference to Pataliputra in the extract, but this can hardly refer to the site of the matha. The mathaor mandirais inhabited by learned Brahmans and others, all novices: bhattabhatt.anam hoi imam mandiram, kimtu savva cattanam madham. They come from many different parts of the country, as the arya verse shows:Lada Kannada viya Mala viya Kudukka Golla ya kei, Marahattha ya Sorattha Takka siri Amdha Sendhava ya. Except the people of Surastra, who are identifiable and the Kudukkas, who are not, all these names are mentioned as of speakers of various desabhasas in the verses on the Eighteen DesIbh.ass (see " Gleanings" I, BSOAS. xiii, ii). Once more the author refrains from any mention of Jainism, all references to religion being purely Hindu. An atmosphere of realism, so often wanting in dharmakathas, is thus preserved,

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The language is principally a mixed jargon of Sanskrit and Apabhramsa, natural in a theological college drawing its students from many regions. There is nothing in the least stylized about it and there is the usual uncertainty in placing the anusvara. Some phrases are almost pure Sanskrit and were no doubt not intended to be perfect. The Prince speaks in Apabhramsa and thinks in Maharastri, the language of the narrative. The meticulous use of n representing both the cerebral and dental in all positions in the Maharastri portions is here replaced by an irregular use of n initially and medially, not necessarily in Sanskrit words alone. Initial n, as in narakadim, does not appear in the previous extract. The text of P 2 twice makes a marked departure from that of J; once after ahahd (4) until the end of (14) and again in the sloka (27). These portions are corrupt and differ so widely from J's text that it is useless to reproduce them at this stage. The two displaced sentences (19) and (20) occur in the same place in both MSS., owing to the fact that they both ultimately derive from the same imperfect archetype. J 130 V 5c (AKT. Bhu. 104) '(1) Kumaro jampium payatto, "Re, re Arotta, bhana re java na pamhusai. Janardana pucchaha kattha tubbhe kalla jimiallaya." (2) Tena bhaniu, "Sahium, jete tau tassa valakkha iellayaha tanae jimiallaya." (3) Tena bhaniyam, "Kim sa vise-mahila valakkha iellia ?" (4) Tena bhaniam, "Ahaha ! sa ya bhadaria sampurnna svalakkhana, gayatri yadrsia." (5) Annena bhaniyam, " Varnni, kidrsam tatra bhojanam ? " (6) Annena bhaniyam " Cai bhatto, mama bhojana[mr] sprstam. Taksako" na vasuki. ham, (7) Annena bhaniyam " Kattu ghadati tau ? Haddhaya ullava, bhojana[im] sprsta[mm]; svanama simghasi ?" (8) Annena bhaniam, "Are re vaddo mahamurkha." Ye Pataliputramaha-nagaravastavye, [te] kuttha samasokti bujjhamti ? (9) Annena bhaniyam, "Asmad api iam murkkhatarL" (10) AI.menabhaniya[m] "K aim kajja ?" (11) Tena bhaniam, " Anipuna-nipuna(r)thokti-pracura." (12) Tena bhania[m.] "Narakaim mam mukta[m], asvo' pi vidagdhah samti ! (13) Annena bhaniam, " Bhatto, satyam tvam vidagdhah. Kim punu bhojane mama sprsta kathita." (14) Tena bhaniam, "Are, mahamuirkhah . VSsuker vadana-sahasram kathayati.

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(15) Kumarena ya cintiam, "Aho, asambaddh' akkharalapattanam baladesianam; ahava ko anno vaparo imanam para-pinda-puttha-dehanam vijja-vinnana-nana-vinaya-virahiana catta-rasayanam mottuna." (16) Cimtayamtassa bhaniyam ann.ena cattena. "Bho, bho, bhatautta." Tumhe nayanaha yo rajakule vrttamta. (17) Tehim bhaniyam "Bhana, he vyaghra-svami! Ka varta rajakule ? " (18*) Tena bhaniyam, " Kuvalaya-malae purisa-dvesi-nie patao lambitah." (21) Imam ca soiuna apphodiiunaekko utthio catto. Bhaniam c'anenam, "Yadi pamdityena, tato maim parinetavya Kuvalaya-mala." (22) Annena bhaniyam "Are ! Kavanu tau pamdityu ? " (23) Tena bhaniam S" adamgu padhami, triguna mantra padhami; kim na pandityu." (24) Annena bhaniam "Are! Na mamtrehim trgunehi parinijjai; jo sahitau patau bhimdai, so tam parineti." (25) Annena bhaniyam " Aham sahitau jjo gvathi padhami." (26) Tehim bhaniam " Kaisi, re vyaghra-sami, gathah ? " (27) Tena bhaniam "Ima gvatha:Sa te bhavatu suprita abudhasya kuto balam ? Yasya yasya yada bhfumi sarvvatra madhu sudanah." (28) Tarn ca so-una annena [sa]kopam bhaniam "Are, are, murkha! Skandhako pi gatha bhanasi. Amha gatha na pucchaha ? " (29) Tehim bhaniam "Tvam patha, bhatto yajusvami, gathah ". (30) Tena bhaniyam "Sutthu, padhami. Ae kappe matta gaya Godavari na muyamti. Ko tahu desahu avatati ko va parianati vatta ? " (31) Annena bhaniam " Are ! Silogo amhe na pucchaha. Gvathi pathaho ". (32) Tena bhaniam " Sutthu, padhami. aharo, manahara kamini, datthuna Tambola-raiya-rao Amha cia kkhubhai mano dalidda guru nivarei." (33) Tau sawehi vi bhaniam " Aho ! Bhatta yajusvami vidagdha pamditu vidyavamto gvathi padhati. Etena sa parinetavya ". (19) Annena bhaniyam " Are ! Keriso so patau jo tiyalla.mbitu ? " (20) Tena bhaniu " Rajamgane maim pathitu asi, so se vismrtu. Savvu loku padhati' tti ". (34) Imam ca souna catta-rasayanam cintiyam rayauttena " Aho ! Anahavattianam asambaddha-palavattanam cattanam' ti." (1) The prince began to speak. "Oh, Arotta, just speak to him before he forgets. Ask Janardana, where he dined yesterday. (2) He said, " He says it is where the sons of that consumptive person dined. (3) He said, " Is that Vaisya woman a consumptive ? " (4) He replied,
* 18 For lines 19, 20 see after 33; in both texts lines 19-20 are placed as printed, but seem to be out of order. (30) J. vatta P 2 vatta. (32) J. aharo kaminim drStva amham cia. kkhubhai mano daridra P 2 aharo drstva kamini janassa.

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" Alas, yes. And that noble woman carries the complete auspicious marks like Gayatri." (5) Another said, " 0 Brahmacari ! What kind of food hadst thou there ?" (6) He replied, "Learned recluse! My food was touched (also 'tainted'); I am Taksaka, not Vasuki." (7) Another said, " How does this happen, indeed ? Shame upon thy words 'tainted food'. Dost thou smell it of thyself ? " (8) Another said, " Oho ! he is a great big stupid. Can those who inhabit the great city of Pataliputra understand a play upon words ? " (9) Another said, "It is more stupid than even we are." (10) Another said, " What is the use (of saying that) ? " (11) He said "There is much talk of cleverness and the opposite." (12) The other replied "Preserve me from the Hells ! Horses are clever also ". (13) Another said, " 0 learned Brahman ! Truly thou art clever. But why did he say 'My food was tainted' ? " (14) He replied, " 0 most foolish one! He is speaking of Vasuki's thousand mouths." (15) And the Prince thought " Oho ! This is the talk in disconnected syllables of ignorant provincials. Well, what other occupation have those, whose bodies are fattened on the food of others and lacking in knowledge, discrimination, wisdom, and restraint, leaving out of the question the ' butter-milk' of novices." (16) And as he was thinking, another novice said, "0 sir Ksatriya ! do " you not know the current topic at the Royal Court ? (17) The Prince said, " Tell me, 0 great priest! what is the tale at the Royal Court ? " (18) He replied, " In the Kuvalayamala sin is attached to the wretch who hates men." (19) Another said, " Oh ! What sort of sin is this, which is attached to it (the Kuvalayamala) ? " (20) He replied, " I recited in the Royal Court-yard. He forgot that. The whole world recites there." (21) And hearing this indistinctly, a novice arose and said, " If I did so in a scholarly way, I should study the Kuvalayamala." (22) Another said, "Oh, what scholarship, indeed, is this ? " (23) He said, "I learn the Six Angas, the Triple Mantras. Is not that scholarship ? " Another said, " Oh, it is not won by the Triple Mantras. He who persistently breaks up sin wins it." (25) Another said, " I am persistent in reciting gvathis." (26) The Prince said, " What kind of thing, 0 great priest, is a gatha ? " (27) He said, " This is a gvatha:May she be thy beloved! Where is the power of the fool ? He whoever possesses the land is everywhere (esteemed) a Visnu." (28) And hearing this another said angrily, " 0 fool! Dost call a skandhaka a gatha ? Are we not asking for a gatha ? " (29) The Prince said, " Do thou, O learned Yajus priest, recite a gatha." (30) He replied, " Certainly, I will: In this age elephants in rut do not leave the Godavari. Who goes to that country or brings news away from it ?" (31) Another said, " Oh, we are not asking for a sloka. Recite a gvathi." (32) He said, " Certainly, I will. Having seen thy betel-reddened.lip, 0 lovely charmer, My mind indeed is troubled, but grievous poverty turns me away."

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(33) Then they all said, " Ah, the learned Yajus priest is a clever scholar and recites a gvathi with understanding. He should study it (the Kuvalayamala)." (34) And hearing this novice-buttermilk, the Prince thought " Why, the inconsequent chatter of the novices is that of the Poor-house inmates ". The question naturally arises here, whether the mixed dialect here represented reproduces the actual script of the author or has been subject to so much corruption as to be without value for analysis. Here P 2 yields very valuable negative evidence. It is often corrupt, but in many cases can be readily and convincingly restored by reference to J. For instance, P 2 reads for J in sentence 2 " . . . Shium, je tao tassa callakkhapallayaham kiraham tanae jimiyallaya ", but in sentence 3 " . . .valakkhielliya ". It is easy to mistake va for ca and pa for e in Jain Nagari (kiraham " of swine " is unexplained). Other passages are so corrupt as to be incapable of restoration even by reference to J. But in spite of the corruptness of the text and a tendency to normalize Apabhramsa forms P 2 corresponds to J in a sufficient number of passages to show that the want of consistency in the mixture of Sanskrit and Apabhramsa is intentional and fully illustrates the remark of the Prince " Oh, the disconnected chatter of silly rustics ! There is no necessity to examine in detail the irregularities in the Sanskrit phrases. We may notice the occasional absence of the visarga, the frequent omission of the anusvara and in sentence 12 the use of singular forms with a plural verb. The Apabhramsa is not stylized like the Maharastri,but it prefers short final vowels to long; and uses -a, -u, -o for the masculine direct case, -a, -a for the feminine, and -a, -u for the neuter. The final anusvara is rare enough to be considered an archaism. The shortened final vowels in Apa. (and Maharastri) verse are therefore not of purely metrical origin and -a in Maharastri, -a in Apabhramsa may be regarded as the regular forms, the alternatives being metrical. (1) pamhusai appears to be the only form recorded with the meaning of "forget " outside Hemacandra's pamhusai _ vismarati Hem. Des. vi, 73. Pischel GPS. 210 equates with *prasmrsati meaning "rubs away ", but the present meaning may be from a root *prasmr in its desiderative form > *pahumhussai> *pamhasai, with haplological dropping pra + susmuirsate of su (hu). PLM. has pamhuttham vimhariam implying derivation from
*smrs.

(2) jete; P 2 has simply je; possibly a form of jettahe where, Hem. iv, 436 and Als. Hari. Glossar. tanae = tanayd, tanaya cf. jimiallayd. The feminine ending -a does not become -e after a vowel, see sentences 3 and 4. (4) svalakkhana; an adaptation of sulaksana. (7) simghasi; Gandhi renders as kathayasi. (15) catta; Hindi cattd school-boy, from Dravidian: Tamil cattan scholar, Old Kanarese Pampa Bharata ii, 34, etc. cattar disciples (not in Kittel), from cattam the frame used by school-boys and so the copy made on it. Tamil has

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A. MASTER-

cattampi schoolmaster and so on, but in Telugu only cattamu, Kanarese catta frame, regulation, are recorded in dictionaries. rasdyana elixir, butter-milk. Here it seems to be a synonym for insipidity. The meaning " buttermilk " is no doubt ironical. (21) apphodiuznaP 2 appo.dilna; Skt. dsphota sound made by striking on the arms, trembling, a blow. PSM. has tdranakarandto reprove, as one of its meanings. In AMg it is translated as " pat with the hand ". But it is confused with dsphal, to dash against, and so may mean "blundering, confused ". There may also be a hint of sphota the impression produced on the mind on hearing a sound. Any of these meanings will do. (24) sahitau pdtau; a very unusual example of the use of the diphthong in Apabhramsa, possibly a graphic experiment. It is not supported by P 2. (25) gvdthi; remarkable both for the labialized velar (in contrast with the velarized labial in the Old Gujarati (Parsi) Ardd Gv7rd for Ardd Virdf and the Ormuri (K) ywar oath, Av. varah-) and for the ending -7, which is never elsewhere used for -d, -a in gdhd, gdha. (30) dvatati, pardnati; the ta-sruti was probably used to avoid the combination dvaai. The form suggests dpatati rather than dpayati (ND) with a meaning rather closer to the Sanskrit. Pardnati or pardnai for pard + nei cf. PSM. dnai brings (land). (32) ddridra; the form is possible for Apabhramsa, but ddlidda which P 2 reads is the correct form for Maharastri.
GENERALNOTES

(6) Taksaka Vdsuki; two of the Naga sons of Kasyapa. The first is the deadly snake, the second the benevolent King of Snakes.' But the point seems to be that the speaker has only one mouth, not a thousand and so cannot afford to eat indiscriminately. (12) mdm mukta(rm); cf. the Jain formula micchd me dukkadarm may my offence be as naught! Such deprecatory phrases have frequently the effect of verbs, as this phrase has here. (23) sa.damgu, triguna-mantra; P 2 reads sadanga beu padhami niuna manta kattami, explaining the Six Angas as Vedas (beu) instead of Vedangas. Niuna is a corruption of tiuna. (27) The anustubh verse contains an enigma. The first pada gives rdmd, the second bala, the third indicates a king, the fourth madhupriyaor Balarama. The inversion of the two parts is due no doubt to the exigencies of the metre. (28) A skandhaka is a Prakrit form of verse according to Dandin, Kavyadarsa i, 37, as interpreted by P. D. Gune (GOS. xx, 52). According to the Prakrta Pifgala it is a gatha of 32 matras, 12/20 twice (Skt. aryagiti). It was very popular in Old Kanarese under the name of kanda, and may have
1 I owe this information to Dr. T. N. Dave, who informs me that it is to be found in the Mahabharata.

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been the ancestor of the arya, which is catalectic in the second pada. The novice identifies the 32-aksara anustubh with the 32-matra skandhaka. What is really intended is the dryd and after one more failure with a duha, the gatha is produced. (30) This Apabhramsa duha is quite normal, except that assonance is permitted in the place of rhyme. (31) Three of the half-padas of the dfha are octosyllabic. So the novice terms it a sloka. (32) Emendation is easy and, considering the accuracy of the two former verses and the context, it is unlikely that the deviations are intentional. P 2 reads aharo drstvd kdmini janassa for the second part of the first pada. It almost scans, but the sense is not good.
ExcuRsus

The Jaina Katha In the Bhumiya or Introductory Chapter of his famous Samaraicca Kaha, the Romance of Samaraditya, Haribhadra describes the various kinds of Katha and it is on this description that Uddyotana bases his own observations. Haribhadra, who may have been at most a late contemporary of Dandin and can hardly have been ignorant of his work, does not attempt to repeat the distinction recognized, but not wholly approved by him, between Katha, Akhyayika, and Campu, although the Samaraicca Kaha may fairly be called a Campu. He is concerned with the matter rather than the manner of the composition. The threefold division is, however, maintained. He writes (Sama. 2, 11): Tattha ya tiviham kahdvatthumti puvvdyariya pavo : tamr jahd: divvam divvamanusammanusarm ca. " It is the opinion of former teachers that there are three kinds of material of Kathas-divine, divine-human, and human." He defines these terms and continues: Ettha samannao cattdri kahao havanti ; tar jahd : atthakahdkdmakahddhammakahdsamkinnakahdya. " Here there are commonly four Kathas : the Arthakatha, Kamakatha, Dharmakatha, and Samkirnakatha." The first three correspond presumably to divvamanusam, manusam, and divvam respectively, the Samkirnakatha being a combination of all three. So in Sama. 3, 7 we have: ja u.na tivagg6vSyana-sambaddhd kavvakahd ganthattha-vitthara-viraiyd loiya-veya-samaya-pasiddhduydharana-heukdran6vaveyd,sd samkinnakaha tti vuccai. "That which is made up of an exposition of the three classes, composed of detailed descriptions in volumes of' poetry and romance, distinguished by secular, ritual, and doctrinal accounts together with examples, reasons and origins, that is called a Samkirnakatha." Uddyotana writes (J 3V 2a): Puno sd vi tivihd, tam jah : dhammakahd atthakahd kamakahd, puno savva-lakkhand-samrpa4ia tivagga samki.nna tti. tde sd dhammakahdvi hoiuna kdma attha sambhave samkinnattanam pattd. "But it is of three kinds, as follows: the Dharmakatha, the Arthakatha, and the Kamakatha, but embodying the characteristics of all is the blend of the

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three classes. Thus although a Dharmakatha it has acquired a blending with the qualities of Kama and Artha." These definitions do not include the Sakalakatha, which Hemacandra (Kavyanusasana, p. 340) defines as samasta-phaldnteti vrtta-varnand after Abhinavagupta's Locana on Dhvanyaloka, p. 141 (Jacobi, Sama. Intro., xviii, also n. 4), when he refers to the Samaraicca Kaha as a model Sakalakatha. The phrase may be rendered " description of events complete with all the consequences ". Uddyotana refers to sayala-kahd (see the first citation, ? 1), and I have treated it as a technical term but probably incorrectly. It may indeed have been Abhinavagupta's source, but he would not be justified in taking it to be a technical term, even if Uddyotana was thinking of Sama. 4, 10, te sattiyd uttimapurisdsagga-nivvdna-samdruhana-vatti.nTe bahujana-samsanijjde ceva anusajjanti Dhammrakahde sayala-kaha-sundarae mahd-purisa-seviyye "These Sattvika, the highest class of men, are closely connected with the Dharmakatha, which is concerned with the ascent to svarga and nirvana, worthy of praise by the many, most beautiful of all kathas, enjoyed by the great." This translation accords with M. C. Modi's interpretation and, although a Neo-Indian idiom, seems best. A technical meaning can hardly be read into the words. Uddyotana's sayala-kahd can be translated "the whole Kath " and Abhinavagupta's definition of it may be regarded as a simple flight of fancy. Acknowledgements are due to Dr. T. N. Dave and Mr. R. H. B. Williams for some useful suggestions.