dutta sastri 1971 ritual of manuscripts

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CONTENTS

1. Janmasvatvavada and Uparamasvatvavtida :The First Chapters on Inheritance in The Mitakiarii and Diiyabhti8a -Ludo Rocher

PROFESSOR OF SANSKRIT,

UNIVERSITY OF PENNSYLVANIA

.2. The Ritual of Manuscripts -K. K. Duua Sastii, M.A., D.Phil., Kavya-Sankhyatirtha

PROFESSOR, RESEARCH DEPARTMENT,

SANSKRIT CoLLEGE, CALCUTTA

3. Facets of Buddhist Thought -Professor A. K. Chatterjee

CENTRE oF Anv ANCED STUDY IN PHILOSOPHY, BANARAS HINDU UNIVERSITY, VARANASI

4. Advaitamata-Samik~a (in Bengali) ... -Pandit Srimohan Tarka Vedantatirtha

SENIOR RESEARCH FELLOW,


5. Ak~apida-Dadanam (in Sanskrit & Bengali) -MM. Kalipada Tarkacharya

SENIOR RESEARCH FELLOW,


6. J ainadarsaner Digdarsan (in Bengali) -.Professor Satindra Chandra NayiiyiichO.rya

PAGES

1-14.

15-44

1-32

39-52

33-58

1-28 "'

AdminKreis

THE RITUAL OF MANUSCRIPTS

DR. KALI KuMAR DuTTA

THE RITUAL OF MANUSCRIPTS

Charity (dana) as a pious act received recognition in India from the ear Hest period of its history. So we hear of the Danastutis in the hymns of the ~gveda 1 . and they are echoed in the Kuntapa hymns of the Athar-vaveda. 2 The Mahabhirata 8 also speaks in eulogy of the acts of charity on a number of occasions. It was perhaps a feeble attempt at economic readjustment devised by the authors of the religio-social system prevailing in ancient India. In order to induce men to the acts of charity, various religious merits yielding tempting results, special1y in the life beyond death, have been promised which the man of the bygone ages with his firm faith in the transmigration of the soul and the theory of action had no difficulty to believe in all seriousness. The recommendations for charity, however, were made with a note of caution. It ha:s been said that the gifts should be made to a deserving man, otherwise it will be detrimental to the good of both, the donor and the donee." It also has been advised that the gift should be sufficient for the satisfaction of the donee. 5

Gift of knowledge (vidyadana) is an interesting item in the list of the objects of charity in ancient India. It is included in the variety of gift called 'atidana' or charity par excellence. This clearly shows how educa-tion in ancient India was extremely popular and held in high esteem even by the common people. Three kinds of gifts, namely, the gift of the cow, land and learning are known as 'atidana' and the Sistras, in order to induce the donors, speak of a number of incentives in the form of benefits to be accrued to the lot of the donor for the act of charity. It has been said that the donor is assured of his stay in heaven (svarga) as the milk is enjoyed by the donee. As the land given in charity yields various types of crop, the donor is sure to get all his desires fulfilled in heaven.

1. R.gveda, l. 126; 1. 130. 6; 1. 61. 4; X. 117.

2. Atharvaveda~ XX. 127-136. 3. Mahabharata (Gita Press edition, Gorakhpur, 1956), XII. 234. 14-38; XIII. 7-8;

22; 57-67; 69; 731 76; 79-80; 98; 112; 120-121; 134; 145; XIV. 92 and elsewhere.

4.

5.

2

"Go-bhii-tila-hirai,lyadi patre datavyam arcitam I Napatre vidu11a kirp.cid atmanal;l sreya icchata // Vidya-tapobhya:rp hinena na tu grabyal;l pratigrahal;l.J g:rhiJ.an pradataram adho nayaty atmanam eva ea" //

-Yajfiavalkya, I. 201-202.

"Data danam tatha dadyad yatha tu~yeta tena sa~" I -Mahabhiirata, op. cit. XIII. 145.

18 OUR HERITAGE [Vol. XIX> P. I,

As the donee overcomes various difficulties by dint of his knowledge acqui-red from the books received as a gift, the donor. also gets rid of all troubles here in his life and is sure to be rewarded with Supreme Bliss after his death. 6 In the three worlds there is no pious deed that can stand as a match for the gift of learning. So, the best efforts should be made for making a gift of learning." Normally gift of knowledge means free teaching which. was on~ ofthe duties essential for a Brahmin. 8 The Mahibharata pra~ses highly of such a free gift of learning. 9 Even financial help given in aid of learning has been encouraged as a pious act.1 The scope of 'vidya-dana', however, was not limited to teaching or financial help alone, but its scope was extended to the gift of books (i.e., manuscripts) and other accessories of learning by the Sastras.l.l. It is also noteworthy that the recommendations for these gifts are made not only for acquiring religious merits on the part of the donor for his narrow selfish end, but they are made from a broader humanitarian consideration too. It has been re commended that every righteous person should always make his best endeavours to be a donor of learning for propagating knowledge. Because without knowledge no man can distinguish between right and wrong.19 By the way of encouragement, it has also been said that the very sight of a donor of learning purifies a man from all his sins.18 The gift of knowledge

6. Hayasir~a-paiicaratra, Saiikar~aJJakat).c;la (II), 31. 48-50. (This book is shortly to be I?ublishedin Bibliotheca Indica.)

7. lac. cit., 31. 55. also-"Vidyadanat para111 dharmo na bhuto na bhavi~yati" J

-ViglUdharmottara, (Venkateswar Pressed,), 3. 303, 1-4. 8, "Adhyapanam adhyayana111 yajana111 yajanaq1 tatha f

Dana111 pratigraha111 caiva Brahmat).~nam akalpayat" // -Manu, I. 88. 9. Mahabharata, op. cit., XIII, 145. (Vol. IV. pp. 234)

10. ''Dapanarp. tv atha vidyanarp. daridrebhyo'rthavedanail). 1 Svayam dattena tulya111 syad iti viddhi subhanane'' fl (loc. cit.)

11. "Vidyadanam avapnoti pra~anat pustakasya ea" 1 -Vi~l).udharmottara, cited by Hemadri in CaturvargacintamaJJi, Danakha1;

20 OUR HERITAGE [Vol. XIX, P. I,

temples or to the libraries specially built for preservation ofbooks.19 Such donations, however, were obligatory to the followers of the Buddhist and the Jain creeds. 20 Erection of library buildings also formed a part of the gift of learning and special religious merits are attached to it. There are also recommendations for building audience halls in connection with the gift of learning, where public recital of books are to be held. 21 The available texts that recommend such gift of learning are not very old, possibly not older than the 7th century A. D., but the tradition they preserve for us certainly originated much earlier. In the Mahibharata 2 2 we have a traditional story which tells us that Ga:Q.eSa as a scribe wrote the first manuscript of the great Epic dictated to him by the great sage Vyasa. This story, however, has been held to be an interpolation, but still the fact remains that writing of manuscripts in India started in the hoary past. From a tradition current among the Buddhists we come to know that immediately after the death of Buddha, the canons were written on Palmyra leaves. 28 Some foreigners' accounts also evince the custom of writing manuscripts on leaves, barks of trees, cloths and such other materials in the remote past. Q. Curtius refers to the Indian custom of writing on tender barks of trees as early as the time of Alexander's invasion and Nearchos refers to the custom of writing on well-beaten cloth in the 4th century B. C. 2 " The fragments of some Palm-leaf manuscripts belonging to the Kushna period discovered from Turfan in central Asia unmistakably point to the history of writing manuscripts in India that started long before the Christian era. 26 In a country like India where means of transport were notoriously meagre and slow, the promtness with which manuscripts were written and carried to the distant parts of this country, is an interesting fact to

19, "Pradadyad vibhavair divyail). surayatana-vesmasu, 1 (Nandipural}.a, Hemadri op. cit.)

"Tasmin pUJ:.:lyahasabdena vidyakosag:rha:zp nyaset 1 Eva:tp. yaJ:t siva-vidyayaJ:t kuryad ayatana:zp subham I Sa muktal:t patakaiJ:t sarvair vidyadanaphala:zp labhet" 11

(Skandapural}.a, Hemadri, op. cit.) 20, Bfthler, Indian Palaeography, Reprint, Calcutta, 1962, pp, 148.

21, "Vidyama.J)galaka:tp. k:rtva-vidya-vyakhyana-mal).gape 1 Tatrabhyarcya sivaxp vidya:tp. tad-vyakhya:zp Sfl}.Uyat tatal)." I I

(SkandapuraT,~a, lac. cit.) 22. Mahabharata, ibid.~ I. i,7483, 23. Life of Hiuen Tsiang,. Beal, pp. 117.

24. Buhler, Indian Palaeography, op, cit,, pp. 23.

25. Bruchstucke buddbistischer Dramen, Li.iders, Berlin, 1911.

1971] THE RITUAL OF MANUSCRIPTS 21

note. To cite a few instances we may refer to the Sahityadarpa'Q.a of Viavanitha, which was written in Orissa sometime in the neighbourhood of 1350 A. D. We have a copy of the same at Jammu copied in 1384 A. D. 2 6 Sarvaninda wrote his Tikasarvasva on the Amarako~a in 1159 A. D. But no manuscript of this work was found in Bengal. All the seven copies utilized by the editor of this work were obtained in the Deccan and all of them are written in Malayalam charcter.n Sulapat:ti wrote his Sraddha-viveka in Mithila some time between 1420 and 1430 A. D. and within a few years Sr:p.rtiratnahii.ra written in Bengal cites a number of passages from this work. 28

The history of the gift of learning started possibly with Brahmadana, that is, the gift of the Vedas. Brahmadana has been praised as the best of all danas. Cf.

''Sarve~im eva dananarp. brahmadanarp. visi~yate" I (Manu, IV. 233) Yajnavalkya echoes it :

"Sarvadharmamayarp. brahma pradii.ne' bhyadhikarp. yatal)./ Tat dadat samavapnoti brahmalokam avicyutam" // (I. 212)

Yama, however, seems to widen the scope by addition of the gifts of Sastras also. Cf.

"Ya imii.rp. p:rthi~irp. dadyat sarvakamopasobhitim I Dad yat ~astrar:p. ea vipral}.arp. tadvac c~itani tatsamam" 11.

(Cited in K:rtyakalpataru, op. c1t. PP 201) According to the Skandapural}.a the four Vedas, the Mahabharata,

the Rimiyana the texts of the followers of the Pancaritra and all other works that a.re' in the line of the aforesaid works, are called Sastras. 29 Subsequently the scope has been considerably widened to iX:clude al~ost all the branches of knowledge current in those days. To ctte a f~w.dm~:

N d. - so This work holds that Vl ya. tances we may refer to the an lpural}.a. . _ .) . 1 . f the Vedas the six ancillary sciences (S.aQ.anganl '

ma1n y compnses o ' _ _ _ . . r s eaks of the Dharmaaistra, Logic, Puril}.a and Mlma.rp.sa.. It, howeve ' p

. 64 (This of course does not suggest that 26. Catalogue of Mss. atJammu~ Stem, PP the manuscript was copied atjamrou.)

. - Ed TSS No XXXVIII, 1911, Preface, pp. 2. 27, T1kasarvasva, .,

28. I. H. Q., Vol. XVII, 1941, PP 465. . _ - bb-ratam paficaratrakam I

29 "RgyaJuhsamatbarva ea a /I Mu.ta-ra.~a.yat).arp. caiva sa.stram ity abhid~iy~te , Yac canukiilam etasya tac ea sastram pr~kxrtlta: ~iirnaprajiiadariana)

(Cited by Madhavacarya in Sarvadadanasarp.gra a, un er . 30. Cited in Lak~ro'idhara's Krtyakalpataru, V., op. cit.

22 OUR HERITAGE [ Vol, XIX, P. I,

knowledge of the Soul, i.e., 'atmavidya' as the best of all 'vidyas'. s:t. Th~re _are a. large number of varieties of 'vidya' that came into being as denvatlve sciences of the principal 'vidya' of which the merits of Ayurveda (Me~ical science), and Sasyaveda (the science of Agriculture) have been specially emphasised. 8 2 The list includes among others the knowledge of Fine Art and Crafts, Verses, puzzles, Gatbas8 8 and even ~ntholo~~cal collections. 8 !I. In the list given in the Devipural).a we have 1n addition the names of the Itihasas (the Great Epics) Siddhanta-s~stras, s 5 :rv.rok~asas~ras (philosophical treatises and allied w~rks dealing

w~th salv~twn), vanous Tantra works, Astrological and Astronomical SCiences, Agamas and the like. 86 The Hayasir~a includes the Dharma sastras (Sm:rti works) also in the list.87 'Vidya'. in this text has been taken in a very wide sense to include all those sciences that are conducive of attaining the four ends. of man's life, viz., dharma, artha, kama and

mok~a. 88 These sources prefer the Bhurja barks and palm-leaves as materials

for writing. Palm-leaves for writing manuscripts were specially selected and treated for that purpose. 8 9 It has been recommended that the folios of ~~e manuscripts should be twice as broad as the prescribed space for wnting &o It has be n d' t d h 1

e 1rec e t at norma ly a space measuring about

31.

32.

33.

34.

35.

36.

37.

38.

39.

40.

"$ac;laiiga vedas catvaro dharmasastraJ11 puratanam 1 MimiiJ11Sii tarkam api ea eta vidyaQ. prakirtita]}." 11 ...... "Sarvottara ditmavidya saJ11sarabhaya-nasini" 1 "Asameviintarotpanna]}. para vidya]}. sahasrasah 1 Ayurveda]}. sasyavedo vargabhedaQ. prakirtitaQ.;' 11

'Gatha' here means a song or a prakrit verse or both.

"SlokaJ11 prahelikiiql gathiim athiinyad va subha~itam" 1 The Yog~yajiiavalkya (Ed. Poona, 1951) gives the list of Siddhantas :

"Haira:Q.yagarbhai}). kapilair apaJ11taratamais tatha 1 Sanatkumarabrahmi~thais tathii pasupatair api 1 Paiicaratrai}). sadonmuktai}). siddbantair atra saptabhi]}." 11 (11. 67~8)

Cited in Krtyakalpataru, V., op. cit., p. 201.

HSP., II. 31. 59., op. cit.

Lac. cit., 31. 61. "~harmartbakamamok~al)aJ11 ya vidya siddhaye mata 1 TaJ111ekhya brahmal)e dattva svargam apnoty asaJ11sayam" I I "SritaQ.apatrake sa:fice same patra-susaiicite" 1

(Devipuriil)a, cited by Hemadri, op. cit.) "K -uryat tu pustakal11 t~tra lekhyad dvigul)avist:rtam'' I

(Danasagara, op. cit., pp. 478)

f97I] THE RITUAL OF M.ANUSCRIPTS 2.3

two fingers in width should be covered by writing. 41 This space was sometimes demarcated by drawing borderlines according to the choiCe of the scribe. 4. 2

The writing is expected to be handsome and smooth. u Each letter shall have its full form written distinctly with proper strokes at the top, forming a row in a straight line and each of them should be of equal size.&' The letters should be equal at their toplines and they must be sufficiently thick. H They should neither be too thin nor too thick, the signs for short and long should be distinctly shown, having full forms with proper strokes, dots arid combinations clearly discernible in them.

4 6

The Nigara script seems to be the most pop;tlar one, bU:t there are also references to Nandi script and Kashmir script (Sarada script?). The Agnipurij.t}.a speaks of the Nagara script alone. u The Hayasir~a has both the Nagara and the Kashmir scripts. 48 The Devipurai).au speaks of 'Nandi-nagarakair varl).ail}.' but the implieation of this expression is not free from ambiguity. Nandi is a sacred class of writings of the Jains. Possibly the script generally used for such writings has been referred to

41. "Kuryac ea pustakarp. tasya likhed dvyangulavistrtam" I (Nandipuri.il)a, cited by Hemadri, op. cit.)

42. "K:r~"Q.amecakitarp. ea vi.i"-Kr~Q.amecakitarp. ma~inirmita-samayajiiadi-likhani.i'nugul)asyamarekham-(Danasagara, op. cit.). The implication of this exposition, ho~ever, is not very clear. Hemadri reads-"Kr~l)arp. mecakitarp. ea vi.i'' and explains 'mecak1ta:rrl;' as 'mayiirardha-candraiikitam' which also does not fit in well with the conte:X:.t. The prevailing custom, however, tends to support the drawing ofborder-lines for demar~ating the writing space_.

43. ''SubhaJ11 slak~Q.atp. ea ramyarp. ea" I {Nandipuriil)a, cited by Hemadri, op. cit.) "Sir~opetan susampiirQ.i.in samasre:Q.igatan saroan I Aksaran vai likhed yas tu lekhaka]}. sa vara}). sm:rtaQ." If .

(Matsyapurat;ta, cited in the Vacaspatya of Ti.idinatha Tarkavaca:spati) . 44.

45. "Samasir~ai]}. sumaJ11salai1}." f ...-HSP. II. (op. cit.), 31. 10. 46. "Natikdair. natisthulair hrasva-dirghadilak~itaiQ. I Sampii~:s;tavayavair matra-bindu-sarp.yogalak~itaiQ." // Loc. cit., 31. 11. 47. AgnipuriiQ.a, A.nandasrama edition, 63. 15.

48, BSI'. II., op. cit., 31. 10. . ''Kasmirair nagarair var:Q.ail/' I

49. DevipuriiQ.a, cited by Hemadri, op. cit.

OUR HBRITAGE [Vol. XIX, P. I, here. The Nandipural)a prefers the Nigara script, but it also approves the use of regional scripts for copying the Sastras.s o

,The pen to be used for ceremonial writings should be, according to the Sastras, made of gold 51 but from the reference to the 'lekhanisastra'llll in this connection, it appears that pens made of other materials like reeds, quills etc., that require mending with a knife-like instrument, were also used. Possibly the word 'citrabhil}' in the expression "Lekhanibhis ea divyibhir hemacitribhir eva ea" in the Nandipuril)a 11 8 refers to such pens. It is interesting to note here that K~emendra (11th century A. D.) uses the \_Vord 'kalama' in the sense of a pen. 5 4

The inkpot for such ceremonial occasions is to be made of silver. s ll But the gift of an inkpot recommended for a poor man suggests that it was made of other cheaper materials also. The Nandipuril)a does not specifically mention the metal to be used for making the inkpot, but simply says: 'susamiddhe ma~ibhii.I)


The DevipuriiQ.a 6 ' speaks of a casket for p'roviding a protective cover to the manuscripts which consisted of a frame of bamboo-sticks on its sides and the entire body covered with leather to form a casket. The Skanda-puril).a 6 5 refers to the caskets for manuscripts made either of SriparJ;la 6 6 or of leather with deep cavity having sufficient room for holding the manuscripts. 6 7 From the same s.ource we come to know that square-shaped boxes fitted with lids were also kept in the libraries for preserving manuscripts. These boxes were perfectly designed and they were made either of gold studded with jewels, or of silver, or copper or bell-metal, or brass or iron. Sometimes boxes made of wood or bamboo also were used. There is also a reference to chests with the arrangements for lo~k and key. 68

Normally manuscripts were placed on a piece of cloth known as 'pustakastarar_1a', i.e., a 'book-spread', or on a seat or mattress when they were read. 6 9 In connection with the ceremonies, however, we hear of a furniture which we prefer to call a 'book-couch'. It is called 'Sarayantra' and has been variously named as 'Sarayantra', 'Sarapatra', and 'Siva-yantra'.70 NandipuraJ;la71 calls it 'vidyidhara' or 'vidyidhara'. Devi-puri"Q.a 7 2 refers to it as 'yantra' or 'yantraka'. It was made of such

64. "Vicitrakaii.cika parsve carma1;1a satp.putikrte" f 'Kaii.cika'-'ve:t;lusakba'. (Devipurat;~a, Hemadri, op. cit.)

65. Cited by Hemadri, op, cit.

66. Sripar1;1a means-a lotus, AraQ.i, (also called Gal}.iyari) and Gambhari tree. Here obviously the wood is meant,

67. "Ya}:l Sripar1;1asam:udbhiitatp. nimnakbata111 susaficayam J Dadyat samputaka:rp. krtva carma1;1a vapi nirmitam" 11

68, "Ya}:l sauvar1;1atp susampiirlJ.al1l sarvaratnopasobh.itam f Sapidhanasumaii.jii~a:rp. vidyakosa-samasrayam 11 Karayed vapi raupyet;~a tamre1.1a caturasrakam f Katp.syarakiitaloha:rp. va daru-vatp.sadinirmitam" // "Kuryat talakasatpyukta111 vidyaratnakaralJ.C;lakam" 1

(Skandapural)a, Hemadri, op. cit.) 69. ''Pustakastara1.1am dattva supramaiJ.a:rp. susobhanam" 1

(Devipura1.1a, Hemadri, op. cit.) "PustakastaralJ.al1l dattva sahasram tatpramat;~atal,l f Tadasanatp. vitanatp va sivaloke mahiyate" I I (SkandapuralJ.a, loc. cit.)

70. Vide-Danasagara, op. cit., pp. 489, fn. 3.

71. Vidyadbara and vidyadbara-both readings are availble. See Vallala and Hemadri, op. cit.

72. "'l'asya madhye nyased Yantratp. nagadantamayatp. subbam'' 1 (Devipura1.1a, Hemadri, op. cit,)

"Yantraka:rp. casanatp. caiva da!J.Q.asanam athapi va" 1 Loc. cit. t f

\

1971] THE RITUAL OB MANUSCRIPTS 27

materials as gold, silver, ivory or some better quality of wood. It should not be heavy but be a thing nice to look at. It should have a subtle mechanical device with the help of which it can be folded and unfolded according to the requirem~nt. It should be spacious and if it is made of wood, there should not be any timber-knot in the selected piece of wood. There should be hinges for. its folding. 7 3 From the descriptions it appears to be a sort of X-shaped hinged folding book-couch. The Jains, the Sikhs and the Mohamedans still to-day place their sacred books on such a wooden device for convenience of reading. Devipurar_1a 74 speaks of a crude form of this device made of ivory which was fastened slightly in its lower part but tightly fastened at the top by means of a strong piece of thread. The Hayasir~a rr o speaks of a Da:Q.Q.ii.sana also to be used for the same purpose which should be made of gold studded with precious stones. The text, however, does not describe it. The Devipura:Q.a76 also refers. to Da:Q.Q.asana. A throne (Sir:p.hasana) made of ivory or such oth~r mate.nals may also be used for this purpose. Possibly it was a desk-hke f~rn1ture specially built for ceremonial purposes. Wooden desks of low height are still in use in Bengal for reading and writing purposes. . .

Now, this 'Sarayantra' requires careful consideation as 1t has given rise to some confusion. In the Visavadatta of Subandhu77 we have a passage which refers to tsarayantra'. It runs as follows : "Raktarp.suka~a~e vi'famapraruqhavisalati- sarayantrakanugata satapatra- pustaka. sanathe

7 "Vidyadhararp. prakurvita hemariipyamayaJ11 s~bham I 3' Nagadantamayarp. vapi subhadarumaya:rp. tatha 11 .

Manojiiam agururp. ramyarp. slak~lJ.ayantra-~rayogaJaiD I Samkocapatrasarp.yuktarp. vikasena samanvitam I I

Ta~ra vi"dyam vinihitarp. kuryat pustakasa111hitam" If k . . . ) F 'samkocapatra' Vallala' reads- ~saJ11 ocayan

(NandipuraiJ.a, Hemadri, op. clt, 'or F . ther variants we are not interested here. tra' but Laksmidhara has ~sarp.kocavastra or 0 /

. "Ramyam laghu suvistiriJ.arp. nirgranthi granthisarp.yutam - takam" //

Vidyadhara:rp. tato yda~t~ahs~s:::t;; ;~:;;~::hi' and 'sthapitam' for 'sa111s _:Loc. cit.; Lak~midhara rea s m. sran .

tbitam'.

74. ''Tasya madhye nyased yantrarp. naga~a~tamaya:rp. ::ham I Adbah kificin nibaddbarp. tu iirdhvato pl sUS~l1lyu: bh/1 , I

. . - takam likbltam :su am -Loc. tit. Tasyordhvarp. vinyased v1dvan pus

db- - , yantrasanam subham I c'Tatra samsthapayed 1man sara . . . /I Dandasanarp. va srimantarp. hemarat~a.dl~rrmttlam

- - adantadmum1tam Srimat sirp.hasanarp. vapl nag . h" If (II.31.4-5) Tatra sa:qtsthapayed dhiman pustakadvttaya:qt guru.

75.

76. d d- sanam athapi va" I .

''Yantraka:rp. casanarp. calva ai).. a (Devipura:r;ta, Hemadri, op. cit.}

77' .Ed. Hall, Bibliotheca Indica, 1859, P 250.


makarandabindusandohanirbharapanamatta - madhukara-sandramandra manjusvanail). svadharmam iva paijhati vikacakamalakara-bhik~au" etc. Explaining this passage in his gloss named 'darpal).a' Sivarama Tripi~hin (18th Century A. D.) writes : "Sarayantraka:rp talapatriya-pustakama-dhyarajjul}. ... 'Sarata' iti bha~ayam''. So, the Sarayantraka, according to him, is the thread that runs through the pages of a palm-leaf manuscript. Monier Williams and V. S. Apte seem to follow him in their Sanskrit .. English Dictionaries. But apart from the appropriateness of the explana tion of the passage concerned, the meaning of the word 'sarayantra' given by Sivarama does not stand scrutiny. The Hayasir~a (C. 8th century A. D.) clearly states that the 'sarayantra' is meant for placing the book on it and an equally ancient text Agnipural).a 7 8 confirms it. ValHila 7 9 (12th century A. D.) identifies 'vidyadhara' with 'sarayantra' leaving no room for any doubt. The 'sarayantra' was, however, not convenient for wntmg. It was perhaps due to this fact that the Hayasir~a makes pro-visions for 'dal).C].asana' and 'sirphasana' made of ivory or some other mate rials on that occasion. Devipural}.a also speaks of the 'dal).C].asana. 80

A Siamese variety of this device, however, appears to improve the 'Sarayantra' in such a manner that it is convenient for both the purposes, viz., for placing the original manuscript and also for copying.

In the first decade of this century Montgomery Schuyler (J. A. 0. S., vol. 29, 1908, pp. 281-83) saw the Siamese Buddhist monks using a kind of 'Sara-yantra' for copying palm-leaf manuscripts. He gives an intersting account of the device. He writes :-"Each copyist has in front of him, as he squats on the floor of the temple, a frame about 18" inches in height somewhat resembling an artist's easel, on one ledge of which rests the manuscript to be copied, and on the other ledge the blank leaves for the new volume".

From the description it becomes obvious that the said device is only a variety of its Indian counterpart or it may be what is called 'DaJ..:tcJ.ii.-sana' in the Hayasir~a and Devipuril).a, but for the paucity of evidences we cannot be sure of it.

According to the sanctions of the Sastras a properly qualified scribe (lekhaka) is to be appointed for the ceremonial writing with the prescribed procedure. In a number of ancient texts the scribes are described as for-ming a special class known as 'kayastha.' 81 Those scribes were generally

78. "Svastike mar;t

30 OUR HERITAGE [ Vol. XIX, P. I,

scribe should have, in addition a ft k reasoning He m t b ' per ect nowledge of the science of

us e an e t d consummate devotee of v xpe~ In Isc.ourses and sagas and also a with a sectarian interest onl;:I).u. he last Item, however, is concerned

'vaca~~~ o;i;pu;!h:~s:, re;kuirledkt~e services of a reciter who is known as a . or at la a oo whose art ha b . 1 d d !~:r:f~i;~fou~ Fine Artsb(ka!as) e~umerated by v:ts;:;a~:~nu h~s :;,~:~

reciter ~re. h e must b e a B~ahmin. The requisite qualifications of the e must e a WISe man t d

He must have a swe . ' smar ' mo est and a good speaker. Sastras expert . et. Voice and should be well-acquainted with the

' In music adept d h vinyasah) capable f k'. In ecip ermg the scripts (abhyastak~ara

. ' o ma Ing out the import of d d . ning the r. wor s, exterous m explai-Slgm ance of the Sastras rep t d h. k and endowed with th ' u e or ls now ledge of prosody

e power of flawless spe h d . d' . . words and syllable . d' ec 'a ept 1n tstlnctly uttenng

saccor mgto the requ 91 qualifications it b 1 Irement. From the lists of h1s ecomes c ear that the 'va k ' He had twofold duties to e .6 H. ea a was not merely a reciter.

p r orm. IS :first duty was to help the scribe to

90. The 'Kathaka' in Eastern I cl' h . 'pathaka' He . d' . . n Ia, owever, ls different from the 'vacaka' or

Is tstmgmshed for his art 'k h k admixture of reciting, explaining and singing. at a ata' which comprises of a skilful

91. "Brahmanam vaeakam vi - -ns dyan nanya-varnajam adarat'' 1

aptasvara-samayu. ktam kale ka-le v'J:- . / ...... p , _ I:sampate radarsayan rasan sarvan vacayed v'acako nr " -

"Sarvasastraditattvajii.o gandh ._ .pal;t 11 (Vacaspatya, op. cit.) V - cl - arvaJnas tu susvarah I aeaye vacakah s th b - h

us 0 ra ma.J;lal;l. sastravic chuciJ;t." 11 "Sastra-sadbhavaviduse va-eak t' . (HSP., II. op. cit. 31. 34.35)

e I pnyarp.vad e" 1 "B -hm -Vahnipurana cited by H -d .

ra al).asya suvrttasya vacakasya .. 1 h . ' ema n, op. cit. "v- VlJa pata '' 1 -V -h _

aeako brabmanah praJ'iiah sruta'- t : ara apurava, 1oc. cit. Abh - . . . . sas ro mahamanah I S y_astak~~ra-vinyaso v.rttasastra-visaradah I I .

abdarthavtt pragalbhas ea vint db _ Gita'ii.o vak , - 1 o me aya punaJ;t I

J Ya-susravyasvaro'navilabha~akal;t" I I (Nandipura~a, Hem.adri, op. cit.)

1.971 ] THE RITUAL OF MANUSCRIPTS 31

correct the copy by reciting from the original. 9 2 In this connection some major items of correction have been enumerated. Theyare95.:

(i) Letters or words omitted or put in excess should be properly corrected.

(ii) Defective strokes in the formation of letters should be mended. (iii) Correctness of the use of 'anusvaras' and 'visargas' shall be pro-

perly looked into. (iv) All pros and cons should be properly considered before correct-

ing the cases of repetition. 9 4

(v) In such cases where something is suspected to be missing, the rectification is to be made after proper consideration of the context as well as the metrical propriety.

(vi) If the work is in the aphoristic style, before correction of any aphorism its relation with other aphorisms, the problems involved and the intended solution offered by the author, should be duly considered.

(vii) In cases of works written in non-aphorisiic style, doubtful cases are to be considered in relation to the significance of the work taken in its entirety.

(viii) As a rule .significance of the whole work, the context, indica-tions (sucana), references (uddesa) and all that have been either explicitly :;tated or suggested, should be duly weighed before incorporating any correction.

92. ''Ubhayarp. capi tallekbyatp samikuryae ea vaeakam" f -loc, cit. ("Ubhayarp lekbyatp vacayan samikuryat"-Hemadri)

93. ''Unadhikais ea sa:rpyuktarp varl)air matradibhistatha 1 Anusvara-visargais ea yuktayuktair vicarayet f f sa.~tratp prak:rtaya yuktya paunaruktyatp visodhayet 1 Dnartboktya prasangais ea cbando-yogyataya tatba 1 Sutrantadirtbabodhena prasnottara-vivekatal;l. I Asutratv'l.ic ea sastrasya samudayarthabodbatal;t I I Prakrantasucanodddair gaditais coditair api I Babvarthanii.rp ea sabdanl.itp yogyasatti:ql parik~ya tu I Sarvasastrarthabodhena karakadyair aviplutail;t I I Kvacic chabdavivak~ais ea prak:rtartharp. nirupayet 11 Chandasarp capi buddhva tarp v:rtta-sa:q1yogam ipsitam I Evarp vidyatp tu medhaviSastrarp satk:rtya krtsna8a1;t" I J -Loe. cit.

(In the lOth line Hemad:d reads-'Kvacic ea sabda:q1 varjyaiva' for 'Kvacic chabda;..; vivak~ais ea' .which is the reading accepted by Lak~midbara, op. cit., PP. 216)

94. Cf. "Sarigatil;l. paunaruktyana.rp samadhana-samakulam" / -Abb.inavagupta in Abhinavabharati~ lpt:rod1,1ctory verse? 6.


(ix) The cases of words having different meanings, the compatibility (yogyata) of the word as well as the proximity (asatti) of the word concer ned with other words should also be duly considered before they are corrected.

(x) Proper consideration should also be given to the uses of case-endings and other grammatical processes so that there may not creep in any improper use of them (karakadyair avJplutail).).

(xi) In cases of doubt about the use of a particular word, the word which the author intended to use should be guessed by due consideration of the context. According to Hemadri's version the rule reads as follows : If necessary, a particular word may be omitted if it is helpful to the understanding of the appropriate sense (of the expression concerned). . (xii) If there be any doubt about the metre employed, the intention of the author should similarly be guessed.

It goes without saying that these rules give ample liberty to the reciter and the scribe for the correction of the text. Undoubtedly such a proce-dure is fraught with the danger of corruption of the manuscript by reckless corrections in the hands of underqualified scribes and reciters. Obviously it is one of the causes that brought forth the widespread corruption of manuscripts in this country. There is another thing to note that there is no idea of collation of different manuscripts of the same work before correc tion. This is a serious drawback of the recommended method of correc-tion. It is, however, very interesting to note here that Abhinavagupta 9 a (lOth century A. D.) hints at the idea of collating different manuscripts for fixing the reading of a doubtful text and also of indicating the unaccep-table variants instead of omitting them altogether. His method is much in the line of the modern text-critical method.

The other duty of the scribe was to perform the ceremonial recitation of the text before the audience in conformity with the prescribed rules. The general rule for the ceremonial recitation is: The recitation should be made clearly indicating the rasas or sentiments with the help of the seven svaras. 96 This direction may create the impression that the ceremonial recitation was identical with singing. Because, the seven svaras to be employed in such recital are the musical notes, viz., ~aq.ja, :rE}abha,

95.

96.

"Upadeyasya sampathas tadanyasya pratikanam j Sphutavyakhy~ virodhana.tp. pariharal). supiirl)ata' 11 etc.

(Abhinava, op. cit., verses 5-6) "Saptasvarasamayuktarp. kale kale visampate 1 Pradar8ayan rasan sarvan vacayed vacako Ilfpa'' f 1

- Vacaspatya~ op. cit.

-1.9'71] THE RITUAl:. OF MANUSCRIPTS 33 gandhira, madhyama, pancama, dhaivata and ni~ada, enumerated in the texts on music. 9 " But Abhinava-gupta in his exposition of the text of the Nai}yasastra ascribed to Bharata makes the distinction between recita-tion and singing clear in no uncertain terms: ''Udattanudatta-svarita-kampita-rupataya svaral).arp yad rakti-pradhanatvam anura:Q.anamayarp. tattyagena ucca-nicamadhyama-sthanasparsitvamitrarp pai}hyopayogiti darsitam. Yadi hi rasagata raktil). pathye pradhinyenavalambyeta tada ginakriyii. asau syat, na pathal).". 9 8 He means to say that in course of recitation the voice should touch only the three sthanas, i. e., high, low and middle. It should avoid the resonant affectation of voice with the help of the 'var:Q.as', viz., udiitta, anudatta, svarita and kampita as required in singing. If the affectation of voice connected with the rasas are chiefly employed, it will then turn to be singing and not reciting. He also points out some other subtle distinction which we need not enter into for our purpose here. The svaras in this context, therefore, are not the musical notes, but the notes suitable for recital (Pathyasvaras). It will not be out of the place here to mention that the Nayyasistra recommends the employment of different svaras for indicating different rasas. Thus the madhyama and pancama are indicative of S:rngara (erotic) and Hasya (Comic); ~a[J.ja and :rf?abha are employed for Vira (heroic), Raudra (furious) and Adbhuta (marvellous); Giindhiira and Nif}ada are inqicative of Karul).a (pathetic) and Dhaivata is used for expressing Bibhatsa (disgusting) and Bhayanaka (terrible) rasas. 99

It has been laid down that the reciter must know the significance of the whole work he has got to recite. He should recite it distinctly in a sweet tone with all the words and syllables clearly pronounced. He must do it calmly and .not in a hurry. His recitation should be in keeping

97. Cf. "$ac;lja nabha-gandharau madhya~al). p~iic.~~: tatha I Dhaivata:fca nisadas ea sapta svaral). prakirtltal}. /I

(Sa:tigitadamodara, Stavaka, . 3, p. 30, Ed. Calcutta Sanskrit College Research series, No. XI. 1960.

98. Ed. GOS., Ne;>. LXVIII, Vol. II. pp. 385.

99. N$.? GQS,, op. cit. Vol. Il. zyii. lOS-105,

34 OUR HERITAGE [ Vol. XIX, P. I;

with the sentiments and emotions 1oo A d' f

. ccor mg to the Hayasirsa 1 o1 in course o a ceremomal public reading the reciter should re 't . . . which shall b h Cl e 1n a manner be too loud no: :O~tloer to;~low, _nor. too fast and his voice should neither

w. e recitatiOn should be made with a .. allocation of the eight 'sthanas' 102 d' t' . . pproprlate th 1 tt f h ' lS met artiCulatiOn of all the sixty-

ree e ers o t e alphabet1os and . , . d t' . M proper expressiOn of the sentiments an emo Hms. atters related to th 1 Id b . d e erotic sentiment (Srngararasa) s 1ou e rec1te gracefully while those related . . (karunarasa) should h h to pathetic sentiment

ave t e expression of path M with conflict shall b . d . os. atters connected

.

1. e recite Wlth commotion and impulse Penance

tranqlll 1ty and such other matters shall be 't d 1 . . . ' 1 d h reel e s owly whlle th1ngs re ate to t e metaphysical subjects h Id b . . deration. TheN d'' - s ou e recited slowly with consl

100.

101.

102.

an lpural).a 1 o .t also has almost the same set of instructions

"V' l~pa~tam adrutarn santal}l spa~tak~ara-padam tatha I Kalasvar~-sarnayuktarn rasabhava-samanvitam. I I Budhyamanal}. sadatyartharn granthartharn krtsnaso nrpa" I I

-cited in Vacaspatya, op. cit.

"Natid_:ut~~ na vil.ambarn natyuccarn natinicakam I SarvasastradltattvaJiio gandharvaj:iias tu susvarah I I

Vacay~d vacakal}. sustho brahmal}.al}. sastravic chucih I Gu.rul}.~ samanujiiatas tva~tastMi.na-samanvitam I I .

~rieya!tlVar:t;ta-.sarnyukta:rp rasabhavanvitarn tatha" /I ... S~r~garnlahtarn vacyarn karul}.yarn karul}.anvitam I ~~a~a~a,:"ta~a.sarnk~~b?air yuddhoktir vacayed budhal). I I

pa~ sam~dl yatkmclt tac chanair vacayed budhah I Adh,~'atmadi t k'- 1 ~u ya lDClt tad VlVlCya sanail). pathet" I I

HSP. 11. op. cit., 34-38.

':Aey!au _sthanani vaqliinam ural). kaiJ.thal). siras tatha I Jihvamula:rp. ea: dantas ea nasiko~thau ea talu ea" I I

-(PaiJ.iniyasik~a, verse, 13) 103. According to some Tantric traditions current .

letters in the alphabet. They are 14 I . 1 d' m Bengal there are six:tythree , , vowe s me u 1ng the 1 1 . 9 , 1 sparsa-varl}.as' (consonants) 3 sibila t (' . 1 . ong . ~ P uta-svaras'; 25

1. . . ' n s s, s, s), aspirate (h) 2 1 tqutd (1); one trilled (r} one gl'd (.) fl ' sem1vowe s (y,v); one

' 1 e Y ; two apped (a ?;) three nasals (1!1-anusvara h-visarga (?) d .. ( . ' . '.one conJunct (K~)J and the ' ' an - candra-bmdu) Th N-

ett., XVII. 109) speaks of four , a , . . e atyasastra (op. d

- . v rl).as m connectiOn 'th . . u atta, anudatta, svarita and kampita B t th Wl recttatwn. They are:

u ey are not relevant here 104 "E. ' 'dh- . .

. va:ql ,vi - ana to vacyarn vacakena vipascita I . ~apa~a~:atmaka:rp. sarvarn svargadiphalasadhakam I I

anair Vlbodhya vai vacyam adhyatm.adi ea yad bha t Kruddhokti-yuddha-samksobham dh- - ve I 8

_ . . aravartena vaca t 11 a_ra~arnl~Iita~ vakyair vacayedvrddhasa*game I ye ' - - Nana-vrttanurupel).a lalityena ea vacayet" I I . - . Dha~av~rtenfl.' has been exnlain .. d .,., , ,. b (Hemadn, op. cit )

.. "' ..,... ve~ena y He~&.dfi, '

.1:971] THE RITUAL OF MANUSCRIPTS but it adds that war, commotion and angry speeches should be recited with impulse and the S:rl).gararasa requires a graceful recital just in keeping with the variety of metres employed. In connection with the histrionics, the Na~yasastra 10 5 recommends that the three tempos, viz., rapid, middle and slow are to be employed with a view to have the recitation in conformity with the rasas. The mindle tempo is meant for expressing the sentiments of erotic and comic, the slow one for the pathetic and the rapid one for expressing the remaining five other sentiments. It also speaks of six 'an gas', viz., viccheda, anubandha, arpal).a, visarga, dipana and prasamana. 'Viccheda' is the pause to be placed at a particular point. 'Anubandha' is the absence of the pause in between the words or absence of any gap for breathing. 'Arpai).a' is a mode of recitation by dint of which the' recitater fills, as it were, the entire audience-hall with his sweet, attractive and playful tone. 'Visarga' is the utterance of a sentence in a spontaneous manner. 'Dipana' means the beauteous modulation of voice gradually raising or lowering, accord ing to the requirement, .in the three (phonetic) sthanas, namely, uras, kal).vha and siras, that is, raising the 'scale' from the low to the high, touching the middle one according to the exigency. 'Prasamana' is the gradual descent (decrescendo) of the voice from the higher scale without creating any detastable or defective tone.106 According to Ahhinava gupta these six 'angas' are related to the appropriate modulation of voice (nada) in course of recitation. 'Anubandha' is continuity while 'viccheda' is detachment. 'Arpal).a' is the full-throated voice while 'visarga' is just opposite to it. 'Dipana' means the gradual raising of the voice to the higher scale while 'pra~amana' means just reversal of the process.1 0 rr Regarding the employment of these 'al).gas' the Na~ya

105. Referring to the six. 'ailgas' the NS. reads: "E~alfl ea drutamadhya-vilambitas trayo laya rase~upapadyal;l./ Tatra hasya-stilgarayor madhyalaya}.l, karul}.e vilambito vira-raudradbhuta-bibhatsa-bhayanake~u druta lti" I I

(Natyasastra, op. cit., Vol. 11, XVII. 131, pp. 399)

106. "Athangani ~at-vicchedo'rpat;~.alll . visargo'nubandho dipana]ll-pfasam.analll iti. Tatra vicchedo naroa viraroakrtal;l. Arpal}.alfl nama lilayamana:madhuravalguna svarel}..a purayateva raitgalll yat pathyate tad .arpaiJ.ain. Visargo nama vakyanyasal;l. AtlUbandho nama padantare~vavicchedal;t, anucchvasanalll va. Dipanarn nama tristhana sobhi vardhamana-svaralll ceti. P;rasamanaxn nama tara-gatanalll svaraiJ.iilll prasamyata:rp. avaisvaryel}.ii:vataral}.am itL"-op. cit,, XVI[l30, pp. 397. (The GOS. reads 'padanta resvapi vicchedaQ.' for 'padantare~vavicchedal).' but it is against Abhinava's exposition.)

1 Q7. "Tatha ea . madhye trutitatvam .. atrutitatvatfl . va tavato .. vicchedanubandhau, pivaratvam apivaratval!l va ima:v arpaiJ.a-visargau, aroha]J.am avarohal}.al!l va te dipana-p'l'asama.ne. Evarn bhavablia.Yatil;t; upac~yapacayata};l., ar.ohav~rohat$ , ea,,. s.a~hhedo nadaJ,l.." . ~Lo.c. cit,


Sastra108 recommends that for the recitation related tO the erotic and the comic sentiments, arpa:a;ta, viceheda, dipana and prasamana are to be adopted; so also dipana and prasamana are to be suitably adopted in cases of pathetic sentiment; the sentiments of heroi~, fury and wonder should have the liberal employment of viccheda, prasamana, dipana and anubandha; the sentiments of disgust and terror should have appropriate application of visarga and viccheda. In the Natysastra there are many other details which we for our purpose need not enter into here. It is, however, obvious that the directions for ceremonial recitation have some affinity with the histrionic processes of the same. Undoubtedly the aim of such recital was to create a congenial atmosphere in the audience .. hall. It is interesting to note here that the Pa:a;tiniyasik~a also had similar idea about the reciter and his job. Cf.

"Giti sighri siral}.kampi tatha-likhitavacakal}./ Anarthajno' alpaka:Q.thas ea ~aq. ete pathakidhamal}. I I Madhuryam ak~aravyaktil}. padacchedas tu susvaral}.f Dhairyarp.laya-simarthyarp. ea ~aq. ete pathaka gul}.al}." If

(verses 32-33) Generally the reciter stopped for the day when he finished a canto

or chapter or a story.109 The instructions about the audienpe are : they should take their bath,

besmear their bodies with white unguents, and wear garlands. Attentively and respectfully they should hear the recitation.110 But mere hearing will not do if there is no mutual discussion about the thing they hear.111 If there be any doubt, they should gently ask the preceptor who will solve their problems.112 According to the Sastras the utility of such hearing is that, when a Sastra is heard from t~e beginning to the end,

108. ''Tat~a. hasya-spigarayor akank~ayam. arpal).a-viecheda-dipanaprasamanayu .. ktarp pathyarp . karyam. Dipana:-prasamanayuktaq:t karul).e, Viecheda-prasamana-dipa-n~llubandhabahularp. vira-raudradbhute~u. Visarga-vicchedayuktai}l bibhatsa-bhayana-kayor iti, " -Loe, cit.

109. ''Sargadhyaye samiipte ea kathiiparyanta eva vii" 1 . . (Nandipural).a, Hemadri, op. cit.)

110. "Snatail;t. suklail;t. samalabdhai.I;t. sragvibhil;t. susamahitail;t./ Pritiyuktais tatal;t. sraryarp sastral!l sraddha-samanvitail;t." // -Loc. cit.

111. ."Si~yai.I;t. .paraspararp s~strarp. ~intaniyal}l ~i~ak~al].~" -Loc.cit.

112. ''Mrdus ea sarpsaye jate prcchet" -Loc. cit.


r h d he gets interested in that h h. . t of the man is filled up Wlth J.alt an t e ear . . 11s

Sastra. This makes him free from faul~s ln no time. rece tor had a In the ritual of the gift of learnmg the guru or the p p ffi . ently

Th . d ualifications of a guru su Cl very important role. e require q . . he ritual He should be a

. justify the place of honour allotted to hl~ In t . ble ~irtue having an pious and wise man endowed with al ~~nce1va 11 rsed '1n different

. bl d' pos1t10n we -ve impressive personahty' a~rna ~ m 1S d ' d an expert in explaining branches of the Sastras 1nclu~mg the V~ as.' a_n lucidly the significance of the Sastras to hts disciples. Cf.

"Gurus ea dharmavin prajnal:t srutasiistro vimatsara_l:t,j Viprah prakfti-saxp.suddhal:t sucil}. smitamukhaQ. sada

, ,_ ,,_ dah/ Suvftto v{tta-sastrajnal:t sabdasastra-vu:~ara . Abhyasta-sistrasandohal:t prakrtartha-pra var~akal}. // Adhyiirya-sargaviccheda-vibhaktyartha-prayoJakal}. I Sastrirthapadavid dhiman padaslokartha-b~dh.akal}. //

Samudaya-prakirl}.artha-mukhyasastranu~angaJarn I Anak~araxp. qa hrdvastu vyapadisyirtha-~o~ha~al:t// Pakrintidis ea (?) sastrartha-vibhaga-par~m~~hltal:t I Kastabhimana-guQ.hirtha .. bhangena ea vlbodhakal:t // sr;ddheyavig analasyal:t srotrvrtta-prabo~akal:t" l_d . 't) (Nandipura:a;ta, Hema n, op. Cl

l'fi . of the guru much in the Different texts speak of the qua 1 ca~lOnS t . The Hayasirsa,

. some sectanan aspec s. same line, of course, vary1mng 1n . K t 'ya and Vaisya castes however' recommends preceptors belon?mg to ~a-~~ ble But it strictly also if suitable Brahmin preceptor 1S not ava1 a .

. t 11' Prohibits a Sudra being selected as a precep or. . t' n with the h . 1 t be performed In connec 10

Now, let us turn tot e r1tua o. . da with a good star and a:n the gift of manuscripts. An ausplc10US ~ 1 d' 'sions of time should

. ~ , , . f the 27 astronom1ca lVl . ' . ausplc1ous yoga' 1. e., one o h . 1 of manuscripts should be be selected when with due fanfare t e ntu: ld be selected for that inaugurated 115 A secluded palace or room s ou . n be

h Id b 1 nsed with cowdung, a canopy Wl purpose. The spot s ou e c ea decoration Then a spread overhead and flowers shouldd ~trew~ o~e drawn the~e with rice 'svastika' (a mystical figure) shoul ave o

, ddh'" ~ radhanam bhavatiha ceta~ I "Samagra-sastrasraval).ena purpsa~ sra a p _ . a yanti" /f-Loc cit. Ragas ea sastratmakam abhyupaiti do~as ea nasal!l mmi~el). . 113. "Brahmal).anam alabhe tu k~atriyo vaisya-siid~ayo~ I

_ .. s h sudrasya kalp1ta~ f I . . Ksatriyal).am alabhe tu vaiya. . . . .,, 11 HSP I ii 15-16; op~ e1t K~dacid api siidras tu na ciicaryatvam arhatl - ., . ...... , 114.

115. HSP. 11. 31. 2. 42, op. cit.

38 OUR HERITAGE [Vol. XIX, P. I, dyed with five colours. On that place an auspicious 'sarayantra' or a beautiful 'da:Q.4asana' made of gold and studded with gems or a decent throne made of ivory or similar other materials is to be kept for the manuscripts. The preceptor then shall place the two manuscripts on it. One of the manuscripts shall be already written and it will be the orignal and the other be a blank one meant for writing. Both the manuscripts should be wrapped in a fine piece of silken or coloured cloth. Now, the donor should pay homage to the preceptor with devotion by making gifts of cloth and other articles. At this stage, the Brahmins should write and recite some songs and ballads. The scribe also should be honoured with flowers, fragrants, and cloths; bangles and other articles are to be given to ~im as presents. Now the preceptor shall worship Vi~l).u with various articles of worship and the donor, in his turn, should worship the

prec~~tor, the book and Hari. Then with the due proclamation of the auspicious day (punyaha-gho~el).a) the work of copying from the original should be started. The scribe shall take his seat facing the East and before. s~arting his work he should meditate the goddess of learning

(~admmt). Then he should copy five verses to mark the day of inaugura ... tton. The Nandipurana116 dd h b r . a s ere . JUSt e1ore the commencement of ceremonial writing, the scribe should take his bath, put on a well bleached cloth and a scarf, wear garlands of flower, he must have a pair of armlets ma~e of gold and inlaid with pearls and in his fingers he should wear ~om~, rmgs. After the .copying of five verses the scribe should worshtp Vtsv~karman and the donor with concentrated mind and devotion should worshtp the preceptor. Then a feast is to be held and the Brahmins should be honoured with 'd k _, h Thus .. . a ~tl)a tn t e form of money after the feast.

ends the ntual for the day of inauguration. The Devi urana1:i.V' recommends for extendin th . p f . . g e ceremonies on the day of commencement o w_rxtmg to the _night also. On that day, the donor should keep awake at nigh~ along With the others. At night there should be arrangements d.o: _various performances including theatrical shows on the theme of the

e1ties concerned for wh h t d b d ( t - ' IC ac ors, ancers, rhapsodists and wandering ar .. ~, na.acara:Q.anagnais ea) are to be engaged.

Then the work of . h 11 take .. > h d . .. copymg s a contlnue everyday till the project shou~;~e ;:rsh;;p~~l~e;cco:plished. Everyday the Goddess of book

ore e commencement of writing and also at 116 '"'L kh k ' .

.. e .. a o buddhunan snataJ;t suklapu~pambarojjvalah I Suvart;ta:.mukta-keyuro mudrika-sobhitangulih" I. I. (H -d .

. ema r1, op. Clt.) ''Ratrau a. " -N

- J garauarp. kuryat 'sarva-pr. ek~arp. prakalpayet I atacarananagnai' d.. -h

-H - d . . .. . s ea evya. kathana-sambhavaih'' 11 ema rl, op. Clt.J see a'lso Dr R C H. . . . .

op, cit., pp. 59-60, azra, Studxes in the Upapura:Q.as, Vol. II.

117.


the end of the work for the day. Everyday the preceptor, the book and the god Bari should be worshipped. and saluted by the donor. When the work of copying the whole manuscript will be duly finished, the rites prescribed for the installation of books should be performed.

According to the Nandipurii:Q.a118 after the completion of work of copying there should be again the declaration of the auspicious day (pul).yaha) and a grand feast is to be held for the whole day and night. Then the scribe should correct the copy he produced with the help of the reciter so that his copy tallies with the original.

Devipurin..a:t.1. 9 recommends that at this stage the prescribed proce-dure for worship should be followed and then starts the ritual for ins tallation of manuscripts. A chariot with three, five or seven storeys has got to be built for this purpose. This chario~ shall be of the 'sarvatobhadra' type :I. 20 provided with all auspicious signs and symbols. It will be decora-ted with variety of cloths and equipped with bells, chowries, tinklers, mirrors, crescent-shaped fastoons (ardhacandraia ea), tassels and such other paraphernalia. Incenses and the articles of worship are to be placed there. After the worship the chariot drawn by strong horses shall start its journey round and a big procession of men and women should follow it. After the circumambulation in the chariot the book should be bro~ght to a temple where a ceremony is to be held according to the prescr~bed rules and then the manuscript should be made over to a properly quahfied

person as a gift. ~The Hayasir~a, recommends for a more elaborate ce:emony. A decorated pandal provided with basin (ku:Q.Cia), altar (vedt) and other

118.

119.

"Tatal]. samapte sastre tu puna}]. pmJ,yaha-sa~yutam I Kuryat tat tadahoratre panabhojanav_ astub~1}]. // ,,

k t Cakam // -Loc. cit. Ubhayal!l capi tallekhya:rp. sami urya ea va ''Ubhayarp, lekhya:rp. vacayan samikurya~'' I . . 6

-Hemadri. See also Studies in the Upapural),as, Vol. 11. op. clt, PP 484--48

''Tatal;l. piirvokta-vidhina punal). puja:rp. ~ra~al~ayet I Tatba vidya-vimana-ql tu sapta-pafica-tribh~mtkam // VicitravastrasobhaQ.hyaip. subhalak~al),alak~ttam I Karayet sarvatobhadraip. kinkhJ,i-ravakanvitam //.

D . dhacandrais ea ghanta-camara-mal),Q,ltam !I

arpal),ali ar - 11 T

. dhiipam samutk~ipya sugandha~candanagurum asmm . f Turu~kaip guggulam, vatsa sarkara-ma~hUllll~r:tt~~"

. _ - kanya-stri-dv1Ja-dul].khttan If. PilJayet purvavat sarvan . _h "h I h tham drdha-va anal "Mahata janasanghena rat as . . ' _ . , . . .:. . . asya devasya cagamam !I . . ,. . .;; Yuvabht~ cabhtto neya:rp. Y -Flemidri;,.l~ Oil~

120. Thio Qleons-'open .on ~U ,;des'. It may also '"'ean_:._,ausptuil ill all respects'.

40 OUR HERITAGE [Vol. XIX, P. I, necessities shall have to be ercted for the installation ceremony, according to the prescribed rulesYn In that pandal a :flawless mirror has to be placed on the 'bhadrapivha'1 u situated in the north-east side. The reflection of the book in the mirror should have its ceremonial bath with pitcherful of water in accordance with the rules of 'abhi~eka' (sprinkl ing). This is to be done as it has been said that no installation is fruitful without the prescribed bathing. But lest the painting should get spoiled by sprinkling of water, the sprinkling of the reflection in a mirror has been advised in case of idols in painting. For the Manuscripts also the same procedure has been recommended for the same reason. Cf.

"Tasmin sannive~ayed vidvin nirmalarp. darpa:Q.a:rp. subham I Tatra sarp.d:rsya tad riiparp. snapayet kramayogatal;t // Yasmat snana-vihina:rp. tu nir;:phalarp. sthapana:q:t bhavet f Citra:rp. ea nasyate snanat tasmat tarp. pratibimbagam //

D~vvabhil}ecayet kumbhail;t piirvavat kramayogatal;t" {/ (HSP. II. 30. 4-5, op. clt.)

After the sprinkling, the manuscript should be worshipped according to the rules with chanting of appropriate 'mantras' (sacred formulas), but the procedure for opening the eyes (netronmilanakam) is not to be followed. us Then the book is to be placed on a bed and there the 'adhivasa' should be performed.u" Then the book is to be brought to the 'ma:Q.Q.ala' (a mystical diagram) where with appropriate mantras the 'sajiva-kara:Q.a' is to be performed.125 After that it should be worshipped with various articles of worship and 'homa' (oblations to the consecrated fire). Now, the 'caru' (a kind of sacrificial porridge) should be prepared and all assembled there including the donor should partake of it. Cows and pairs of cloths are to be given as sacrificial fees (da~il}i) at this

121. There are elaborate rules for the er.ection of the ceremonial pavilion, but the details are not necessary for our purpose here.

122. In the technical sense 'bhadrapitha' means-'a pedestal in the central ofl'set', It may also mean-' a good s~at'.

123, The 'netronmilanaka' or the opening of the eyes is an essential part of the worship of icons, specially the anthopomorphic ones, This part of worship has been omitted in case of .t!ie inal:!.~Uctipt probably be124. 'Adhiv&ais'i"cerembnial procedure which symbolises the deity being placed in his. own abode. According to tl:ie .Agnipur~a (op. eit.)-

"Hare.(l sannidhya-kar21;1am adhivasanam ucyate'' 1 (60. l) 125. It is believedth~t'iif~ is fn8tilled into the object of worship by this prOwries in their hands and followed by his soldiers, should also add grace to the proc~ .$1'i>n. Thus with impressive pomp and grandeur the proof!:SSiQ.!il,should march round the city. At the end of the journey round~ tbe boo}{; .is to be brought back either to the house of the donor, or it should be led to a temple or library. The Nandipura:7J.a128 recommends that the manus-cript may also be carried on horse-back in the procession. The con .. veyance used should be,. according to this source, studded with gems decorated with beautiful cloths, eqmpped with bells, chowries etc. " and provided with an umbrella with its stick inlaid with precious !itoaes. There must be playing of various kinds of musical instruments and als9 provisions for singing and dancing.

126. 'Miirtipas' are worshippers or custodians of images. Here the te~m is used possibly to mean the worshippers.

4.

" " ah - 5 c -,;ay t" // 127. "Kanyiil;l striyas tu sampiiJya ...... nrp . pauraxp a pu~ e . {Hemadri, op. at.)

128. "Aropya yane ratnac;lhye subhavastra-pari~krte I "' Ghax;~tii-cam.ara-BobM.c;lhye ratnadax;~c,latapatr~i // Gajavaji-rathasthl;lrp va tnaha8obhii-saman:vitllm I

Pura~9 gita..z~;rtyena niiaiivli.dya"rav~ ea If Mailgalair veda-;nirgho$air devaya ~ini'Vedayet I NanariipopaharaiS c;a sam,piijya t~div,aukas~ /l . . . .. . . Datva ea pustakam tatrapit~ dharmam uddidet"JI .. r ; :_, :_,:,~, ~~

-


After that the book should again be worshipped. Then three 'mal}. Q.alas' are to be drawn. At the centre a throne should be installed and the book should be placed on it. In the second 'mal}.Q.ala' the preceptor should take his seat who shall worship Vigm placed in the third 'ma:Q.C}.ala'. Then there should be a prayer for the peace of the world (jagacchantim). The Nandipural).a/ 29 however, advises for dedication of the book to gods along with various gifts after worshipping it with the chanting of the Vedas and utterances of auspicious formulas at the end of which there should be references to 'religions of the forefathers'. It recommends the gift of the book to a temple of Siva.

Now the reciter comes in the forefront. He recites the book in conformity with the prescribed rules . before the people assembled there. The king also appears to be present in the gathering.180 After reciting a full section he shall stop for the day and pray for the peace of the world. Great emphasis has been laid on the public recitation of books. It has been said that mere copying or installation of books is of no avail if there be no public recitation.18 l. Obviously such public recitations were the most effective means of mass educatio~ in those days. They were popular too.18 2 Hence the authors of the Sastras lay so much stress on them.

Then, the preceptor shall sprinkle everybody assembled there in .. eluding the donor with propitiatory water (santyudaka) and receive gold and a pair of cloths as his 'dak~i:Q.a'. The reciter also shall receive a pair of golden bangles and some other covetable things according to his desire. This marks the conclusion of the ceremony of installation of manuscripts.

Now comes the gift of Manuscripts. The manuscripts may be dis tributed to individuals as gifts, if so desired. The Hayasir~a recommends that the manuscripts may be given either to the prceptor or to a properly

129. Hemadri, op. cit.

130.

131.

"Vaeayet ehravayed vidvan n:rpatirp karakarp tatha" 1 -HSP. 11. 31. 36, op. cit.

"Evarp likhed vaeayitva pustakarp vi~IJ.u-tatpara:Q.I ~g-yatha ni~phala:rp jneya111 likyite sthapite hy a pi" 11

-Loe. cit., 31. 42-43.

132. The popularity of such public recitals has been evinced by Bana (7th centur A. D.) who tells us that e th d y "Ad ven e queens an pnneesses were among the audience Cf.

ya tu caturdasiti bhagava t M h-k- . . _ _ . n arp a a alam arc1tum 1to gataya tatra Mahabharate

vac:amane ~rut~m" (With reference to Queen Vilasavati); "Pathyamane ea sarva-mangalamahxyasl Mahabharate datHi.vadhanam)) (W'th . '" K- -K.adamb - d . . 1 reternce to adamban)-. l:lrl, e S~ddhantavagisa, 2nq eqi~ion, Naki:pur, S~k. 1847, :PP 243 & 762-3,


qualified Brahmin. Even if they are meant for one's own use, the same procedure is to be followed. They also may be given to a Vi~l).u temple. us For the qualifications of the recipient it has been laid down that he should be a Brahmin, wise, intelligent, well~versed in the Vedie lore, engaged in teaching and also a man of commendable character.184 Devipural).a l.s 5 adds that the manuscript of a particular subject should be given to a man who is devoted to that subject. Such a donee should be always engaged in learning, in the habit of diligently acquiring knowledge, a master of Sas tric lores and devoted to teaching. The Agnipurai).al. 86 seems to summarise the whole procedure as given in the Hayasira~a. The VahnipuraJJ.a l. 8 7 recommends the gift of manuscripts to qualified persons along with gems, milch cows, cloths, ornaments and various other gifts on an auspicious day, or on the day of eclipse of the Sun or the Moon, or on the day when the Sun passes from one Zodiacal sign to the other, or on the day of solstice.

After the gift of the manuscript there comes the occasion for feast and festivity which should be held in a grand scale quite in keeping with the resources of the donor. These are to be held, according to the Nandipura:q.a,188 by the king in his city, by the headsman in his village,

133. "Evaxp. likhed atmano' rthe dadyad eva:rp janardane 1 Vi~lJ.Uriipaya gurave dadyad va dvijapui.tgave I I

Vi~l).ujiianabhiyuktaya vedasnataya dharmilJ.e" 11 -op. cit., II. 31. 43-44.

134. "Brahmal).asya suv:rttasya vacakasya vijalpatal). 1 Anena vidhina dattva" (Varahapural).a, Hemadri, op. cit.) "Anenaiva vidhanena Brahmal).al). silasalini I Prabodhayati dhiyukte yuktajiie vedavadini 11 Vinyaset tu subhaxp. sastrarp mahapuiJ.ya-jig~aya" I I

-N andipur[IJ.a, loc. eit.

135. "Sadadhyayanayuktaya vidyadanarataya ea I Vidyasa:rp.grahayuktaya k:rta-sastrasramaya ea" 11 "Tenaiva vartate yas tu tasya tarp vinivedayet" I

-Hemadri, op. cit. -Loc, cit.

136. Op. cit., 63. 13 ff.

137.

138.

"Candrasiiryoparage va sa:rpkrantyayanavasare I Pul).ye'hni tat susampujya vastralarpkara-bhii~a:t:tail). I I Gh:rtadhenva yutaxp. ratnair dadyad guiJ.avate tatal)." I I

(Hemadri, op. cit.)

"Tatas ea bha:qayed vipran rudrabhaktaxp.sea manavan I Yathasakti ea kartavya utsaval). sve~u vesmasu I I Rajiia tu nagare karya grame gramadhipais tatha I Grhe grhasthaih kartavya utsuva .bandhubhil). saha" I I

(Hetnadri, op. cit.)

44 OUR HERITAGE [Vol. XIX, P. I, by the householder in his own house, in company with the friends and relatives.

This system of gift of manuscripts is surely one of the factors that contributed to the growth of libraries, specially the private libraries, in our country in the bygone ages.

The ritual of manuscripts retains for us a picture that opens before us a forgotten chapter of our religio-social history evincing the attitude of the society towards the advancement of learning and the measures adopted for the diffusion and encouragement of education.

FACETS OF BUDDHIST THOUGHT

5

dutta sastri 1971 ritual of manuscripts

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