7. Sources of Intervening Stories

A detailed comparative study of the intervening stories of Paumacariyam has been made in the fourth chapter. Before we deal with their sources let us discuss over the date of the Vasudevahindi Vol. I. which contains a number of similar stories. (i) Probable Priority of Vasudevahindi : Vasudeva, hero of the theme of Vasudeva hindi narrates to his grandsons his experiences in the form of a number of stories. Among these stories there is a Rama-story also. Some of the intervening stories of in the Paumacariya are also found in this work. A comparative study of them and some other elements show that Vasudevahindi was composed earlier than the Paumacariyam. Professor. B. J. Sandesara on the evidence of the Visesanavati of Jinabhadragani Ksamasramana (609 A. D²), which refers to Vasudevahindi, says that the Vasudevahindi 1. For clarification see details in Supra, Chs. 3 and 4 as well as the book 'Rama Katha by Dr. C. Rama-katha; by Dr. C. Bulke (First Edition). 2. An old palm-leaf manuscript of Visesavasyaka Bhagya of Jinabhadragani Ksamasramana notes the year 531 of Saka Era. On this basis the date of 609 A. D. is assigned to its author. But Muni Punyavijayaji considers 609 A. D. as not the date of composition of Visesavasyaka Bhasya but regards it as the date of presentation or of writing a new manuscript of the works (Vide personal talk with him at Ahamadabad-July, 1961). 18

274 A CRITICAL STUDY OF PAUMACARIYAM was composed certainly not later than the 6th century of Vikrama on the linguistic era. i. e. between 443 and 543 A. D. He further evidence of the work surmises that it would not be surprising if the works dates probably one or two centuries still earlier because its Maharastri language inherits some traits of Pali and many more of Ardhamagadhi¹. A survey of Paumacariyam reveals that its language is well developed Maharastri with some influence of Apabhramsa on it. The date of Panmacariyam is fixed as the last quarter of the 5th century A. D. Therefore, it is possible that Vasudevahindi was composed earlier than Paumacariyam. Besides that we find that certain intervening stories of Paumacariya have their source in the Vasudevahindi because some points in these stories of the Paumacariya are not clear and are left out as well-known to the readers as follows:- The Iksvaku Vamsa is said to have originated with Adityayasas but it is not mentioned why it was called Iksvaku Vamsa. The Vasudevahindi Vol. I. explains this point.2 Vimalasuri merely refers to the episode of the battle between the sons of king Srisena at 15.19 considering as it was well-known. This story is fully narrated in the Vasudevahindi Vol. I. 3 In the story of the origin of Hari Vamsa, it is not stated expressly that Hari became the king of Campanagari and the circumstances under which he, who had no relations with Campanagari, was installed as the king of that city. These two missing points are clear in the Vasudevahindi¸ª In the story of Sanjayanta, and Vidyuddamstra, the Paumacariya does not mention the causes which led to the torturing of the former by the latter. This point is clear in the Vasudevahindi Vol. I. 5 'Origin of Brahmanas' and the be in their original setting in the Besides that, the stories of the 'Origin of Animal Sacrifice" seem to Vasudevahindi Vol. I. while the Paumacariya has borrowed them from there and affected some alterations and omissions. In the former story the introduction of the 1. Vasudevahindi (Guj. Tr.), Int. pp. 2. & 15-30. 2. See Supra, Origin of Various Dynasties, Ch. 5. 3. See Supra, Ch. 4 no. 63. 4. Ibid, no. 20' 5. Ibid. no. 21. 6. Ibid. no. 16. 7. Ibid. no. 17.

275 SOURCES, CONTRIBUTION AND INFLUENCE OF Paumacariya device of germinated seeds for testing the real Sravakas indicate that the author of the Paumacariya was well-informed of the episode that there were some Sravakas who were wrong-faithed. Further the Paumacariya does not explain as to what was the significance of marking the real Sravakas with the Kakiniratna. In the Vasudevahindi Vol. I. these two points are in their original form. Therein the real Sravakas are called Brahmanas (mahanas), because they did not cause injury to any living being. Cakravartin Bharata took their test when he came to know that there were some unreal Sravakas who posed themselves as real ones. Then he marked the real Sravakas with the Kakiniratna as many times as the sets of vows were observed by them. Our Paumacariya has given a fanciful mould to this point by telling us that Lord Rsabha asked Bharata not to beat the Sravakas 'mahana' hence, they were called. Brahmanas i. e. Mahanas. In the story 'Origin of Animal Sacrifice' it is not mentioned as to what sort of Aranyakas were being studied by Parvataka, Narada and Vasu, whether the Aryan or non-Aryan (Arya or Anarya ). It has been left understood that they were studing Aryan Vedas. But one cannot understand what were these Aryan and non-Aryan Vedas. Secondly it is said that Raksasa Parvataka composed worng sastras for propagating animal sacrifice. They were composed during the Tirthakala of Munisuvratanatha (11. 39), but at 4.80 it is said in the story of the 'Origin of Brahmanas' that false Vedas and hymns advocating animalsacrifice would be composed after the Nirvana of Lord Mahavira. This is a contradiction. In the Vasudevahindi Vol. I. there is a systematic and well-planned exposition of the subject which gives an impression of its originality. It describes the 'Origin of Animal Sacrifice' under the 'Origin of non-Aryan Vedas.' The story in its details gives a clear picture of the cause of the origin of Anarya-Vedas and Animal sacrifice. Hence the story in the Paumacariya is a summary of the same given in the Vasudevahindi Vol. I. and Vimalasuri has affected some changes in the story. All these points establish that the Vasudevahindi belongs to a period earlier than that of the Paumacariyam. As discussed above, the Rama-story of Vasudevahindi Vol. I. is not followed by Vimalasuri, but the influence of Vasudevahindi Vol. I. is quite apparent on the Paumacariya as we shall discuss below. And if the Vasudevahindi is not an earlier composition then it is sure that both the works belong to a comtemporary period and they might have a common source as regards the following stories and features. The motive of the whole theme and the planning of the Vasudevahindi have resemblances with the Paumacariyam:-

276 A CRITICAL STUDY OF PAUMACARIYAM The hero of the Vasudevahindi Vol. I. is depicted as a romantic character who wanders from place to place and marries various girls. In the Paumacariya also Rama and Laksmana, during their journey, are depicted as romantic, exhibiting their exploits and marrying various girls (In the Valmiki Ramayana there are no such marriages). The Vasudevahindi Vol. I. (p. 1) is divided into five main divisions called Adhikaras (tattha ime ahigara). Our Paumacariya is also planned into seven divisions called Adhikaras (satta puranettha ahigara 1. 32). (In the Valmiki Ramayana they are called Kandas). The Vasudevahindi Vol. I. is further divided into many Lambhakas each dealing with a separate episode or story and having a separate title. Our Paumacariya also contains many cantos with their separate titles. (The Valmiki Ramayana has no separate title for each canto). In the story of Pradyumnakumara we find that he is kidnapped on the very day of his birth and he unites with his parents after a long time (Vasudevahindi Vol. I., p. 82 f). The motif of this story has its counterpart in the Paumacariya's story of Bhamandala. The story of Citravega of (Vasudevahindi Vol. I., p. 215) in which she is transformed into a male by some medical treatment and is again brought to her original condition at the time of her marriage, seems to have its counterpart in the Paumacariya in the story of Kalyanamala who lives as a disguised prince and discloses her identity when she meets Laksmana with a desire to marry him. Then we have striking similarities in a few descriptions and phrases. The descriptions of Magadha, Rajagrha and king Srenika are based on the same pattern in both the works (Paumacariya, 2. 1-10; 3. 1; Vasudevahindi Vol. I., p. 2). Compare the opening verse of the 'stuti' in the Paumacariya (1. 1) with that of the first line following the first verse of the Vasudevahindi Vol. I. On the basis of the above evidences it can be regarded that certain intervening stories of the Paumacariya have their sources in the Vasudevahindi Vol. I. or both the works might have common sources. (2) Sources of Respective Intervening Stories of Paumacariya :The sources of the intervening stories can be briefly stated as follows:- (A) Jaina Sources : (i) The 'namavali' sutras in the Samavayanga and the Tiloyapan- natti as well as the oral Jaina tradition are the sources of the biographies 1. Siddhasurakinnaroragadanuvaibhuvanindavanda parimahiyam.-Paumacariya Namo vinayapanayasurindavindavandiyakamaravindam Arahantanam-Vasudevahindi Vol. I.

SOURCES, CONTRIBUTION AND INFLUENCE OF Paumacariya 277 of Tirthankaras Mahavira (4) Rsabha (5) Ajita (6) Munisuvrata (7) and Cakravartin Harisena (11). There is influence of the Kalpasutra and the Vasudevahindi Vol. I. on the biography of Rsabha (5). (ii) Sources in the Painnas. (a) Kirtidhara and Sukosala (13):- The Bhattaparinna (16). Maranasamahi (466-67) and Santharaga (63-64) refer that Sukosala was strangled by his mother, now a tigress. (b) Saudasa (15):The Bhattaparinna (145) mentions that Saudasa suffered being a slave of taste. In the Paumacariya, there is clear influence of the Visnupurana on this story. (c) Vasu and Parvataka (17):-The Bhattaparinna (101) states that Vasu went to hell for telling a lie. In the Paumacariya, the story seems to be based on the Vasudevahindi. (d) Cakravartin Sanatkumara (10) :The Maranasamahi (410-11) refers that Sanatkumara suffered diseases. In the Paumacariya, the story seems to be based on Vasudevahindi Vol. I. (iii) Sources in the Vasudevahindi: The following stories appear to have their sources in the Vasudevahindi Vol. I. Various minor changes are affected in them by the way of abridgement ommissions, alterations and additions or changes in proper names. If the Vasudevahindi Vol. I. is not earlier than the Paumacariya, then both the works have their sources of the following stories in the common Jaina tradition : Rsabha (5); Bharata and Bahubali (8); Sagara (9); Origin of Brahmanas (16)%; Origin of (yajna) Animal Sacrifice (17); Origin of Hari Vamsa (20); Muni Sanjayanta (21); Srivardhana and Jvalanasimha (22); Madhu and Kaitabha (57); Battle between the sons of Srisena (63). (B) Brahmanical Sources : (i) Valmiki Ramayana (Valmiki Ramayana) as the Source : Ravana-carita (1) :-In details there are various differences. Anjanasundari and Hanumat (2) :-This story stands on an independent line. Mythological aspect of the Valmiki Ramayana is absent and it has got a realistic touch.

278 A CRITICAL STUDY OF PAUMACARIYAM Madhu and the Sularatna (30) :-The Paumacariya gives an independent story but the seeds of its motif are in the Valmiki Ramayana Story of Ahalya (32) ;-It is quite an independent story in the Paumacariya It counteracts the superstitious and divine elements of the mythological story found in the Valmiki Ramayana King Dandaka (40) :-It is quite independent of the Valmiki Ramayana Only the burning of the capital of king Dandaka is a common element. Dhanadatta and Gunamati (54):-The Paumacariya gives a very detailed story and a number of characters play part in it. The basis of it is the story of Vedavati in the Valmiki Ramayana but there are in the Paumacariya a number of additions and differences. (ii) Stories found in the Mahabharata but the Paumacariya narrates them in quite a different way : (a) Naghusa and Simhika (14). (iii) Stories found in the Puranas but the Paumacariya narrates them on different lines : Narada (3), Saudasa (15). (C) Popular Sources: The sources of nearly 35 stories are not traceable. It is quite probable that the author of the Paumacariya might have invented some of them with his genius and he might have inherited some stories through the oral tradition of his predecessors. At least the five stories (46 to 50) coming under Mayopakhyana very clearly reveal that some floating . popular stories have been introduced in the Paumacariya, because the purpose or the point the author wants to explain is not served by them.