a lunar illustration occurring in several manuscripts of the dhanya-Śālibhadracarita, an old...

A Lunar Illustration Occurring in Several Manuscripts of the Dhanya-Śālibhadracarita, an OldGujaratī Work of XVIIth-XVIIIth Cent., A. D.Author(s): Ernest BenderSource: Journal of the American Oriental Society, Vol. 88, No. 4 (Oct. - Dec., 1968), pp. 709-711Published by: American Oriental SocietyStable URL: http://www.jstor.org/stable/598115 .

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ATxNs: The RY dya&-Paradigm aed te Sievrs-Edgerion Law 709

dydman occurs 3 times, all in line-initial position, and should have a diyu- shape but does not. The situation is the same with dyotan4 (1 H), and dyotanA (1 , 1 L), each of whose post-heavy occurrences should have diyav-. But a dy6tana at 8.29.2 appears to show a diyav- shape thus: y6nim elca 11 a sasadd52 diyotanah which gives a good jagat! pattern of LSLS LSL LSLSA. If this is a valid metrical interpretation of the line, here is the only instance of diyav- in RV. Arnold (1905.100 ? 151) thought that the 2 occurrences of sudy6tman contained a diyav- but his resolu- tions, viz. sudi6tnm& in 1.141.12a and sudiotmdnam in 2.4.1a, are incorrect, as was recognized by Oldenberg (1909.144, 191). They should be re- solved in accordance with the S.E. law as sudyo- tam& and sudy6tamdnam (see Edgerton 1943. 115 ? 75).

13. Probably closely related to a diyav- is the jiyav-, that often appears in jyo'c which Mayrhofer (1953 if. s. v.) considers " wohl halb mi. aus *dyok [jy- being a " Zwischenstufe " between Skt. dy- and Middle Indian j-, occurring in Vedic jyotis

and jyo'k] . . . und wahrscheinlich-wie auch lat. dift . . . -zu dyaui geh6rig." The following list presents all the RV occurrences of jiyok and jyok. All 13 occurrences should be jiyo'k. There are 9 sure jiyo'k forms, 2 certain jyo'c forms, and 2 that may be interpreted as either form. Twelve are line-initial and 1 post-heavy. Here, as in the case of diyazis and diydm, there seems to be a clustering in positions 1-2 for which the reasons are unclear (see remarks in the preceding ? 5). One receives the impression that diyau's and diyam and jiyo'k are remnants from a very early stage of poetic composition. As dyavd and dydvas show no initial diy- even though both occur very often as line-initial and post-heavy, so also jyotis (see ? 7d) in the same situations has no jiy-. Are dyava and dyavas to diyaz's and diyam as jyotis 56 is to jiyo6k in the matter of exemplifying a progressive decline in exploiting metrically the full range of allomorph stems, and the forms built from them, made available by the operation of the S.E. law at a much earlier period?

62 The text reads saldda, but see Arnold (1905.120 ? 163 ii) for protraction of vowel in position 8.

5" Including jy6tiragra (1 H, 1 L) ; jy6tiranika (1 H ); jy6tirjardyu (1 P); jyotiskit (2 P); jy6tismat (8 P, I L); jyottratha (3 P); and sujy6tis (3).

A LUNAR ILLUSTRATION OCCURRING IN SEVERAL MANUSCRIPTS OF THE DHANYA-SALIBHADRACARITA, AN OLD GUJARATI WORK OF

XVIIth-XVIIIth CENT., A. D.*

ERNEST BENDER UNIVERSITY OF PENNSYLVANIA

THIS PAPER IS CONCERNED WITH the content of one painting which occurs, with variations and differing captions, in five of the ten illustrated

manuscripts I have examined of the ildlibhadra- carita,1 composed by Matisdra (or Matisdgara), fI. 1622, A. D. One's first reaction to the painting was that it represented the celebration of a lunar function. However, closer study revealed that it was, rather, a delineated statement of a pivotal episode in the story. I have not been able to discover any representation similar to this elsewhere, and, therefore, consider it worthy of a full dis- cussion.

* This is a re-working and expansion of a paper read at the XXVIIth International Congress of Orientalists held at the University of Michigan, Ann Arbor, Michi- gan, in 1967.

I am indebted to Mr. George M. Quay of the Univer- sity Museum for the superb prints from which the plates for this paper were prepared.



710 BENDER: A Lunar Illustration in Several Manuscripts of the Dhanya-Salibhadracarita

The version of the Jain tale, illustrating the virtue of almsgiving, concentrates upon the mer- chant prince, Salibhadra,' who possessed riches beyond imagination and spent his days and nights luxuriating in the company of his thirty-two beau- tiful wives, completely ignorant of the life beyond the walls of his palace. So famed was he that the great king 8renika, linked by tradition with Mah&- vira, the founder of the Jain faith, came to see him. Soon after this encounter, 8alibhadra de- cided to shake off his mundane shackles and become a monk, intent upon release from the cycle of rebirth. His mother reasoned with him, asking him to picture what would happen to his thirty- two, weak, helpless wives. He could not be per- suaded to retract his decisiou, but agreed on a compromise: He would give up one of his wives each day and leave at the end of the thirty-second night.

Meanwhile, his sister, Subhadrd, one of Dhanya's eight wives, distressed by her brother's decision, told this to her husband. Dhanya's retort that he did not consider giving up one wife a day an example of great sacrifice elicited a challenge from his wives that he give them all up at one time. He accepted and 8alibhadra, hearing this followed his example. The two then took instruction in the faith from a famed holy man, were initiated into monkhood, and went off. I leave the story here to return to the place in the text where 8dlibhadra has revealed his decision to abandon one wife each

day. The story proceeds to describe the wives' lack of enthusiasm with the turn of events. Three wives have been sent away and the spotlight falls upon the fourth. The Old Gujarati reads: ghadiydlai bdjai ghadi / dhibjania lagi deha . / mujha-nai pina priu chandiusyai / pahara cihum-nai

cheha // vdta ma ka piichi saki / adi avi lMji / pahara cihum-nem* amtarai/ vichadivau chai djd// atidtura neha gaheli / ghara-iupari cadhi akeli/ hirano kava-hi jdsyai / mrgardja lisai cihum* pdsai //

"The time-drum 2 sounded the hour. Her limbs trembled. (She said,) " My husband is going to abandon me at the end of the fourth prahara of this night." 8 Her modesty prevented her from uttering one word. He would put her aside at dawn. Over-wrought, frantic with love, she climbed to the roof of the house alone. The moon would soon disappear. She marked the four tigers 4 about it."

The last verse (i. e., " Overwrought, frantic with love, she climbed to the roof of the house alone. The moon would soon disappear. She marked the four tigers about it.") refers to the painting. The concept of a deer (mrga) being seen in the moon is well known in India. References to this in the literature are frequent and paintings illustrating it are not uncommon. The association of the word mrgardja with the moon is not novel. Mrgard'aj the word for "tiger" (or "lion," lit., "king of beasts"), is recorded in lexicons quoting texts dating from before the turn of the Christian Era. Alone, or compounded with other words, it can have the meaning "moon." See, for example, the following entries in the Biihtlingk-Roth dictionary: mrgara with the meaning " moon "; mrgcr&- jalaksman, "moon (having the mark or name of lion or the moon)"; mrgarajadhdrin, "moon (having the mark or name of lion or moon)."

We turn now to the illustrations. I have deli- berately avoided discussing artistic style, merit, etc., for I feel that miniatures cannot be con- sidered apart from the other elements on the sheet of which they are an integral part-the place on the leaf, the colors used, the positioning of

1 There are many versions of the (Dhanya-) ialibha- dracarita. In JAOS 43, Maurice Bloomfield described that originally composed in Sanskrit by Dharmakumnra in 1227, A. D., and subsequently embellished and refined by Pradyumnasfiri (Pradyumndcarya); Parvan X of Hemacandra's Trisastihaldkapurusacarita (11th cent., A. D.) relates the story; Jinakirti is the author of a Dhanya-gdlibhadracarita (about 1438, A. D.); and the IKathlkok'a (I refer to the ms. used and translated by Tawney.), which is of unknown authorship and bears no date of composition, relates the story in full, with greater emphasis on Dhanya, rather than EAlibhadra.

I am happy to express my appreciation to Muni sri Punyavijayaji who so generously gave of his in- valuable time and counsel, making it possible for me to check the major portion of my translation during the fall of 1955 in Ahmerabad. The Munij! also made available to me for microfilming a number of mss of the salibhadracarita which otherwise would not have been accessible to me.

My researches on the ?Alibhadracarita were supported by a fellowship from the Guggenheim Memorial Founda- tion for the year 1955-56 and, more recently, by a University of Pennsylvania Faculty Research Grant.

2or "gong " 8 I. e., "at dawn." A prahar (a) is a period of three

hours. Starting with 6:00 A. M., there are four prahars in the day. The first ends at 9:00 A.M., the second at noon, the third at 3:00 P. M.; and the fourth at 6:00 P. M. (sun-down). Similarly, the first prahar of the night ends at 9:00 P. M., the second at 12:00 P. M., the third at 3:00 A. M., and the fourth at 6:00 A. M., sun- rise-when the moon is gone, devoured by the four tigers.

4or " lions"



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BENDER: A Luncar Illustration in Several Manuscripts of the Dhanya-idlbhadracarita, 711

other illustrations, the script employed. The aes- thetic balance would be destroyed.

The first painting is from the manuscript in the Boston Museum, Boston, Massachusetts. It is dated Samvat 1678 (1621, A.D.) and bears a caption reading: coca hiranti-sum araddsa Icara chai ["Absorbed in thought, she reverences the moon."]. Here the wife is shown reverencing the moon in the last (or fourth) prahar of the night. The four tigers or lions are beneath the moon looking towards it. When the fourth segment, still seen, disappears, she will be abandoned.

The second painting, made available to me through the generous help of Professor W. Norman Brown from photographs of a superb manuscript in the collection of Muni 8rlvijayaindras-dri, is not dated. It has no caption. The wife is looking up at the moon, with the mrga (or deer) standing on the last quarter. The four tigers are positioned about it.

The third painting from a manuscript in the collection of the Prince of Wales Museum in Bombay is dated Samvat 1817 (1760, A.D.) and is captioned: camtdramd dala 4 simha mdmdn1ya cydre sise [" Four tigers are positioned about the moon, (each) eating (his) share."]. This is a variation. Two tigers are beneath the moon, with the deer standing on the last quarter, and two seem to be on the roof. All are facing the moon. The wife is shown to the left. Below is a room and a mat with a flask and two cups upon it. The last repast she has shared with her husband.

The fourth painting from a manuscript in the Library of Congress in Washington, D. C., is not dated. Its caption reads: stri chodai [chai] [" The wife is abandoned."]. The wife stands on the roof reverencing the moon. The last quarter can barely be seen. A tiger is sitting at each corner of the roof. Note that the tiger in the lower left-hand corner is looking back over his shoulder at the remaining portion of the moon. He seems to be licking his chops. In the room below klibhadra is speaking to eight wives who are begging him not to abandon them. (The man could be Dhanya, kilibhadra's brother-in-law, who, with one fell swoop, gave up all his eight wives.)

The fifth and last painting, from a manuscript in the National Museum in New Delhi, it dated Samvat 1839 (1782, A.D.) and bears the caption: ?&labhadra ekeka str! dina-pratai tejai chat [" alibhadra gives up one wife a day."]. The scene is similar to the preceding. The moon is depicted more clearly, with the spot and quarter section. The wife is offering a flower to it. As in the preceding painting, the tiger in the lower left- hand corner is looking back over his shoulder anticipating his share. The tiger in the lower right-hand corner is still chewing away at his portion.

The caption accompanying the scene in the room below reads: stri chodi ["A wife is given up."]. Since this scene, similar to the preceding painting, depicts a man and eight women, it is quite possible that the captions have been interchanged.

IS NYAYA INTENSIONATL OR EXTENSIONAL?

KARL II. POTTER UNIVERSITY OF MINNESOTA

THE QUESTION of the intensional or extensional character of Indian and in particular Nydya logic is one upon which there has now arisen a small but interesting literature. According to I. M. Bochen- ski the tendency of Indian logic is "notably intensional."'I J. F. Staal remarks anent Bochenski's

judgment that "while this view, at the present state of our knowledge, remains valid for a large number of cases, the doctrines (of definition and cross-connection of universals) show a marked extensional character." 2 B. K. Matilal has re- viewed Staal's arguments; he concludes that

1 J. M. Bochenski, Formal Logic (tr. Ivo Thomas) (University of Notre Dame Press, 1961), p. 447.

2 J. F. Staal, "The theory of definition in Indian logic," JAOS 81, 1961, p. 126.



a lunar illustration occurring in several manuscripts of the dhanya-Śālibhadracarita, an old...

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