Introductory Verses

162 INTRODUCTORY VERSES:—The Tilakamanjari begins with a benedictory verse saluting Jina, the Omniscient and Omnipresent Lord (vs.I). It is followed by next five verses which express salutations to the Tirthamkaras (vs.2), -- men especially the first one, viz, Rsabha (vs.3), to his first religious discourse (vs.4), delivered in extremely pure chaste language a veritable Goddess-of-Speech (vs.5), and to the beneficient glance by Lord Mahavira, the last Tirthankara, towards an inimical god who had been obstructing his penance (vs.6). The next two verses praise a good poetic composition (vs.7) and an impartial critic (vs.8). Then follows a censure against the wicked ignoramuses (vss.9-10), an acknowledgement of the power of a really poetic piece (vss.II-12) and a dig at the attempts of poetasters as well as bad critics (vss.13-14). The next four verses deal with the defects of tiring prose full of long compounds (vs.15) or too much of paronomasia (vs.16), ceaseless prose only or too many verses (vs.17) and lack of a good xery story content (vs.18). In the following nineteen verses the poet respectfully and appreciatively mentions the names of his predecessors and their works; viz, Muni Indrabhuti, who, being the first disciple of the last Tirthamkara, obtained the meritorious "Three Jewels" of the Jain

163 scriptures (vs.19); Valmiki and "Kanina", i.e. Vyasa (vs.20); the author of the Brhatkatha (vs.21), Pravarasena, the author of the 'Setu' kavya (vs.22); the author of the Tarangavati-katha (vs.23); the Prakrit poet Jivadeva (vs.24); Kalidasa (vs.25); Bana along With his son Pulindra the author of the Kadambari- -- -katha and the Harsacarita, an Akhyayika (vs.26-27); Magha and Bharavi (vs.28); the author of the Prakrit Samaraditya-katha (vs.29); Bhavabhuti, the dramatist (vs.30); Vakpatiraja, the author of the Gaudavadha-kavya in Prakrit (vs.31) 3B Bhadrakirti, the Svetambara Jain Yayavara Kavi (.e.Rajasekhara(vs.33); author of the Taragana-kavya (vs.32); Mahendrasuri, the poet's own Jain preceptor(vs.34); the poet Rudra, the author of the Trailokyasundari-katha (vs.35); Kardamaraja, adept in composing fine homiletic verses (vs.36); and a a general tribute to their mastery in either in language or gard story-telling or lucidity or in all the three simultaneously. Then commences an account of his patrons beginning with the description of Mount Arbuda (vs.38). There is a reference to the fire-pit origin, and a tribute to the valour, of King Paramara, the founder of the dynasty known by his name (vs.39), and of his son Sri vairisimha (vs.40), whose son was Sri Siyaka wellknown as Sri Harsa (vs.41). His son was Sri Sindhuraja, Z

164 a highly brave warrior, whose elder brother was the king Srimad Vakpatiraja(Munja)(vs.42).The former's son was Sri Bhoja, who was a crowned as the heir-apparent by vakpatiraja, alias Munja, himself (vs.43). the next seven verses eulogize the martial career of the Paramara King Bhoja (vss.44-49). Then the poet informs us that he composed his prose-romance with the purpose of entertaining this King Bhoja, who was otherwise well- -versed in all the branches of literature, but who wanted to listened to a tale based on Jain scriptural lore (vs.50). In the next three verses follows the poet's autobiographical account. There lived in the village called sankasya an extremely munificient brahmin named Devarsi (vs.51). His son was Sarvadeva, highly learned both in the lores and luxuries (vs.52). His son was Dhanapala, who a acquired his education at the feet of his father. This poet, the author of this prosethe Tilakamanjari, was publicly honoured by King Munja, who conferred on him the coveted title "Sarasvati", i.e. the scholar par exellence, in the presence of his royal assembly(vs.53). Then unfolds the story proper with a long and elaborate poetic description of Ayodhya, the capital city of the Kosala country.