Sukṛtidatta Pantas Kārtavīryodaya: Ein neuzeitliches Sanskrit-Mahākāvya aus Nepal byJohannes SchneiderReview by: Ludo RocherJournal of the American Oriental Society, Vol. 119, No. 3 (Jul. - Sep., 1999), pp. 500-502Published by: American Oriental SocietyStable URL: http://www.jstor.org/stable/605948 .

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Journal of the American Oriental Society 119.3 (1999) Journal of the American Oriental Society 119.3 (1999)

form of the thing." This does not make sense. For the interpre- tation of this quarter verse, see M. Hattori, Digndga: On Per-

ception, HOS 47 (Cambridge, Mass.: Harvard Univ. Press, 1968), 103, n. 1.62.

The meaning of the term kalpandpodha in the definition of

perception is elucidated in ch. 6 (pp. 76-92). In the following chapters the author treats "kinds of perception" (pp. 93-120), "the relation of perception to object" (pp. 121-48) and sums up the results of his investigation (pp. 149-53). It seems that the au- thor's study is not based on a proper understanding of the rele- vant Sanskrit texts. His "translation" is rough and inaccurate in

many cases. Sometimes he puts forward an argument based

merely on his arbitrary reference to a portion of a text. For

example, he insists that both Dignaga and Dharmakirti are Sau- trantikas by pointing out that the Sautrantika theory that the as-

semblage of atoms is the object of perception is accepted by Dignaga in his Alambanapariksd (AP) and by Dharmakirti in his PV (pp. 123-24). However, he does not direct attention to AP, vv. 6a-c: yad antarjieyarfpam bahirvad avabhasate, so 'rthah, nor to PV, III (Pratyaksa), vv. 320ff., in which the Yogacara- Vijfinavada view is clearly expressed (cf. M. Hattori, Review of H. Tosaki's translation of PV III, vol. II, in Indo-lranian Journal 30 [1987]: 309-10). Sanskrit sentences quoted in footnotes are

mostly unreadable and make readers unpleasantly irritable. For

example: saksaccajnanajaname samartho visayoksavata (p. 93, n. 1) for sdksac ca (v. 1. cet is better) jndnajanane samartho

visayo 'ksavat. In appendix A (pp. 154-56), the author gives a "chronolog-

ical table of philosophers," but the dates assigned to some phi- losophers are hardly acceptable. In appendix B (pp. 157-69), a

"translation of relevant kirikds of PV" is presented, but in

many cases the reviewer cannot but be hesitant in admitting the

author's work as a "translation." To cite an example, v. 50

(jiinamdtrarthakarane 'py ayogyam ata eva tat / tad ayogya-

taydrilpam tad dhy avastusu laksanam) is translated (!) as fol-

lows: "That object which offers its own form in the cognition, produces vivid form (and?) is capable of successful action in

regard to the object, is the ultimate real." This verse is intended to prove that the universal (sdmdnya) is unreal (aripa, avastu) for the reason that it is incapable (ayogya) of producing an

effect in the form of a cognition, but not to characterize what is

ultimately real. It is to be hoped that the author will try to read a text more

carefully, and base his arguments on a proper understanding of the ideas expressed in the text.

MASAAKI HATTORI

KYOTO

form of the thing." This does not make sense. For the interpre- tation of this quarter verse, see M. Hattori, Digndga: On Per-

ception, HOS 47 (Cambridge, Mass.: Harvard Univ. Press, 1968), 103, n. 1.62.

The meaning of the term kalpandpodha in the definition of

perception is elucidated in ch. 6 (pp. 76-92). In the following chapters the author treats "kinds of perception" (pp. 93-120), "the relation of perception to object" (pp. 121-48) and sums up the results of his investigation (pp. 149-53). It seems that the au- thor's study is not based on a proper understanding of the rele- vant Sanskrit texts. His "translation" is rough and inaccurate in

many cases. Sometimes he puts forward an argument based

merely on his arbitrary reference to a portion of a text. For

example, he insists that both Dignaga and Dharmakirti are Sau- trantikas by pointing out that the Sautrantika theory that the as-

semblage of atoms is the object of perception is accepted by Dignaga in his Alambanapariksd (AP) and by Dharmakirti in his PV (pp. 123-24). However, he does not direct attention to AP, vv. 6a-c: yad antarjieyarfpam bahirvad avabhasate, so 'rthah, nor to PV, III (Pratyaksa), vv. 320ff., in which the Yogacara- Vijfinavada view is clearly expressed (cf. M. Hattori, Review of H. Tosaki's translation of PV III, vol. II, in Indo-lranian Journal 30 [1987]: 309-10). Sanskrit sentences quoted in footnotes are

mostly unreadable and make readers unpleasantly irritable. For

example: saksaccajnanajaname samartho visayoksavata (p. 93, n. 1) for sdksac ca (v. 1. cet is better) jndnajanane samartho

visayo 'ksavat. In appendix A (pp. 154-56), the author gives a "chronolog-

ical table of philosophers," but the dates assigned to some phi- losophers are hardly acceptable. In appendix B (pp. 157-69), a

"translation of relevant kirikds of PV" is presented, but in

many cases the reviewer cannot but be hesitant in admitting the

author's work as a "translation." To cite an example, v. 50

(jiinamdtrarthakarane 'py ayogyam ata eva tat / tad ayogya-

taydrilpam tad dhy avastusu laksanam) is translated (!) as fol-

lows: "That object which offers its own form in the cognition, produces vivid form (and?) is capable of successful action in

regard to the object, is the ultimate real." This verse is intended to prove that the universal (sdmdnya) is unreal (aripa, avastu) for the reason that it is incapable (ayogya) of producing an

effect in the form of a cognition, but not to characterize what is

ultimately real. It is to be hoped that the author will try to read a text more

carefully, and base his arguments on a proper understanding of the ideas expressed in the text.

MASAAKI HATTORI

KYOTO

Sukrtidatta Pantas Kartaviryodaya: Ein neuzeitliches Sanskrit-

Mahakdvya aus Nepal. By JOHANNES SCHNEIDER. Indica et

Tibetica, vol. 27. Swisstal Odendorf: INDICA ET TIBETICA

VERLAG, 1996. Pp. 430. DM 84.

This volume, a revised version of a 1994 doctoral disserta- tion at the Philipps-Universitat in Marburg, deals with one of the works of Sukrtidatta Panta, who was born in the year 1823- 24 in a village near the city of Baglung (Bagaluna) in western

Nepal. Sukrtidatta's ancestors, including his father Bhavadatta, as well as his three elder brothers, were Sanskrit scholars and teachers. Schneider's provisional list of Sukrtidatta's works

(pp. 27-29) includes twenty-eight items. Only one of these, the

Bhdvdmrtavydkhyd, a commentary on the tenth sarga of Jaya- deva's Gitagovinda (dated 1843-44), has been published so far,

by Prapannacarya (Pokhara and Lalitapura, v.s. 2049 [1992-

93]). Schneider is concerned with Sukrtidatta's "Spatwerk"-it is labeled anuja to six other works in the final stanzas of six of its sargas-Kdrtaviryodaya (henceforth KVU) which, accord-

ing to verse 17.35, was completed ndgendra-netra-nava-bhu- mita-vikramabde vaisdkha-masa-sita-paksa-trtiya-tithydm, i.e., on April 23, 1871 (p. 193), just a few years before the author's death.

The KVU is a mahakdvya in 17 sargas and 1745 stanzas. Based on personal information which Sukrtidatta provides in the final chapter, Schneider describes the author's goal as fol- lows: "In einer Zeit, als das Sanskrit schon langst zur Sprache einer kleinen Bildungsschicht geworden war, unternahm es

Sukrtidatta Panta, das Genre des Mahakavya fortzufiihren. Seine Gedanken sind daher nicht nur wertvoll als Aussagen eines Dichters iiber sein eigenes Werk-sie sind auch als

Aufforderung an die Gebildeten zu verstehen, die grosse Tradi-

tion der Sanskrit-Dichtung nicht nur zu bewahren, sondern im

Stil der alten Meister sch6pferisch fortzusetzen" (p. 29). Sukrtidatta refers to several predecessors whose everlasting

kirti he wishes to share:

srikalidasa-bhavabhuti-murari-magha- sriharsa-bharavi-mukhdh kavayo 'dhundpi tisthanti kirtivapuseti mamaisa yatnas tisthami kalpam amund vapuseha vijiidh (KVU 17.32)

Yet, elsewhere he singles out one of them in particular, Sriharsa:

sriharsoktih sahrdayahrddm harsavarsam tanotu

(KVU 17.20b)

A substantial chapter of the volume (pp. 89-183) is devoted

to the "poetische Figuren im achten Sarga." Both the seventh

and the eighth sargas are, indeed, intentionally designed to il-

lustrate a variety of alamkdras. Differently from other colophons that relate directly to the progress of the kavya story-e.g., mdhismativarnanam ndma (sarga one), dattairamagamanam

Sukrtidatta Pantas Kartaviryodaya: Ein neuzeitliches Sanskrit-

Mahakdvya aus Nepal. By JOHANNES SCHNEIDER. Indica et

Tibetica, vol. 27. Swisstal Odendorf: INDICA ET TIBETICA

VERLAG, 1996. Pp. 430. DM 84.

This volume, a revised version of a 1994 doctoral disserta- tion at the Philipps-Universitat in Marburg, deals with one of the works of Sukrtidatta Panta, who was born in the year 1823- 24 in a village near the city of Baglung (Bagaluna) in western

Nepal. Sukrtidatta's ancestors, including his father Bhavadatta, as well as his three elder brothers, were Sanskrit scholars and teachers. Schneider's provisional list of Sukrtidatta's works

(pp. 27-29) includes twenty-eight items. Only one of these, the

Bhdvdmrtavydkhyd, a commentary on the tenth sarga of Jaya- deva's Gitagovinda (dated 1843-44), has been published so far,

by Prapannacarya (Pokhara and Lalitapura, v.s. 2049 [1992-

93]). Schneider is concerned with Sukrtidatta's "Spatwerk"-it is labeled anuja to six other works in the final stanzas of six of its sargas-Kdrtaviryodaya (henceforth KVU) which, accord-

ing to verse 17.35, was completed ndgendra-netra-nava-bhu- mita-vikramabde vaisdkha-masa-sita-paksa-trtiya-tithydm, i.e., on April 23, 1871 (p. 193), just a few years before the author's death.

The KVU is a mahakdvya in 17 sargas and 1745 stanzas. Based on personal information which Sukrtidatta provides in the final chapter, Schneider describes the author's goal as fol- lows: "In einer Zeit, als das Sanskrit schon langst zur Sprache einer kleinen Bildungsschicht geworden war, unternahm es

Sukrtidatta Panta, das Genre des Mahakavya fortzufiihren. Seine Gedanken sind daher nicht nur wertvoll als Aussagen eines Dichters iiber sein eigenes Werk-sie sind auch als

Aufforderung an die Gebildeten zu verstehen, die grosse Tradi-

tion der Sanskrit-Dichtung nicht nur zu bewahren, sondern im

Stil der alten Meister sch6pferisch fortzusetzen" (p. 29). Sukrtidatta refers to several predecessors whose everlasting

kirti he wishes to share:

srikalidasa-bhavabhuti-murari-magha- sriharsa-bharavi-mukhdh kavayo 'dhundpi tisthanti kirtivapuseti mamaisa yatnas tisthami kalpam amund vapuseha vijiidh (KVU 17.32)

Yet, elsewhere he singles out one of them in particular, Sriharsa:

sriharsoktih sahrdayahrddm harsavarsam tanotu

(KVU 17.20b)

A substantial chapter of the volume (pp. 89-183) is devoted

to the "poetische Figuren im achten Sarga." Both the seventh

and the eighth sargas are, indeed, intentionally designed to il-

lustrate a variety of alamkdras. Differently from other colophons that relate directly to the progress of the kavya story-e.g., mdhismativarnanam ndma (sarga one), dattairamagamanam

500 500

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Reviews of Books

nama (sarga two), etc., the colophon of sarga seven reads sab-

dalamkarapradarsanam nama, the colophon of sarga eight arthalamkdrapradarsanam ndma. After most stanzas in these two sargas the manuscripts even include the name of the alamkara that is being illustrated. The list of Sukrtidatta's works (p. 28) includes eight titles dealing with alamkdraSastra, none of which is available at the moment. It is therefore possi- ble that Sukrtidatta developed his own definitions of individual alamkaras before he wrote the KVU (even as the unidentified definitions of meters that appear as glosses in the KVU manu-

scripts may originate from his Chandahprabandha, to which he refers at 14.124; cf. pp. 72-73). Well aware of the existence of Sukrtidatta's theoretical works on alamkarasastra, Schneider nevertheless decided to establish "[das] Verhaltnis Sukrtidatta Pantas zur poetologischen Tradition, soweit dieses aufgrund einer Behandlung der Stilfiguren zu erschliessen ist" (pp. 89- 90), solely on the basis of the eighth sarga of the KVU. From the Bhavdmrtavydkhyd we know that Sukrtidatta was less in- terested in the earlier works on alamkara (of these only Dan- din's Kavyadarsa is mentioned), but that he was familiar with several later alamkdra texts: Bhoja's Sarasvatikanthdbharana, Mammata's Kavyaprakaia, Visvanatha's Sahityadarpana, Ap- payadiksita's Kuvalayananda, Ramadeva's Kavyavilasa, a Nav-

yakdvyaprakdaa, and a Kalpalatd. A concordance between the

figures of speech illustrated in the eighth sarga of the KVU and in the Kavyaprakdaa (cf. the comparative table, pp. 91-92) leads Schneider to suggest "dass Mammatas Kavyaprakdaa der

poetologische Ausgangspunkt fur unseren Autor war" (p. 93). This hypothesis is subsequently tested by an annotated transla- tion of the one hundred and two stanzas of the eighth sarga. Schneider's main source of information, in addition to Kane's "niitzliche Anmerkungen" in his edition of three sections of Visvanatha's Sdhityadarpana (1910) and those of Trivedi in his edition of Vidyadhara's Ekdvali (1903), is Figures de style en Sanskrit by Marie-Claude Porcher (1978), who "unternimmt es erst... ausgewahlte Alamkaras in ihrer spateren historischen

Entwicklung, in ihrem Verhaltnis zueinander und in ihrer Bezie-

hung zum theoretischen Uberbau der dhvani-Doktrin zu bespre- chen" (p. 90). Since Schneider selected the Kavyaprakada as his main point of comparison, it was perhaps too radical a de- cision, on principle, to pay less attention to Nobel's Beitrage (1911), Jenner's Poetische Figuren (1968), and Gerow's Glos- sary (1971), on the grounds that "[sie] gehen nicht iiber Mam- mata hinaus" (p. 90; all three deal with Mammata, and, I must add, Schneider does refer to them in the footnotes).

The examination of the figures of speech in sarga eight is followed by a translation of sarga seventeen, which in the col- ophon is called vamsavarnanam, "the description of (the au- thor's) lineage." Together with Prapannacarya's introduction to his edition of the Bhdvdmrtavydkhya, this chapter is the princi- pal source of information on Sukrtidatta's family, life, and works. More detailed information seems to be contained in the

bhumika to Prapannacarya's "bislang unveroffentlichten Aus-

gabe" of the KVU (p. 25). The edition of the entire text of the KVU (pp. 195-393) is

based on four manuscripts, two that are complete and two that are not. As for one of the incomplete manuscripts (siglum H), acquired by Michael Hahn in Kathmandu, "[e]s sprechen... gewichtige Griinde dafiir, H als das Autograph anzusehen-sei es, dass der Dichter selbst es niedergeschrieben und korrigiert hat, sei es, dass ein oder mehrere Schiller unter seiner Aufsicht dies besorgt haben" (p. 207). The text of the KVU, in Roman transliteration, with variant readings at the bottom of the page, is preceded by "textkritische Vorbemerkungen" (including a stemma, for, even if H is the autograph, it is far from com-

plete), and followed by various "Anhinge zur Textausgabe." Schneider remarks that the principal goal of his study is "das

Hauptwerk Sukrtidatta Pantas erstmal zuganglich zu machen"

(p. 77). Whether he has reached this goal depends on the kind of readership he meant to address. Indologists may question some of the assumptions underlying the author's approach, but

they will agree that Schneider has produced a solid piece of

philological scholarship. On the other hand, those less inter- ested in alamkdras, meters, and other technical aspects of the text, might have looked forward to a rare opportunity of read-

ing "ein neuzeitliches Sanskrit-Mahakavya aus Nepal" in trans- lation. They may be disappointed: except for sargas eight and seventeen, and occasional stray verses or passages, there is no translation. (There is a brief summary of the entire KVU, pp. 36-40.)

To be sure, translating texts such as Sukrtidatta's KVU pre- sents problems. Even the translation: "Sriharsas Rede soll fiir die Herzen der Geniesser einen Regen der Freude verbreiten!"

(p. 190), for KVU 17.20b, which I quoted earlier, does not and cannot convey the poetic effects that Sukrtidatta wished to achieve. At 1.32 Sukrtidatta compares the city of Mahismati to a poem with different meters:

vidalagrhapanktikopavanamdlini krtrimd- bhinavyanagadalini sikhariniha rkse sthita vasantatilakadvalisadrsasundarisamavrta katham rucirapadyaka bhavatu naiva saisa puri

In translation (p. 77) these references to meters disappear:

Sie besitzt Aneinanderreihungen grosser Hauser und Reihen kleiner Walder, sie ist kunstvoll;

sie besitzt Scharen junger Baume, sie hat Tirme und

liegt hier auf (dem Berg) Rksa; sie ist wie mit einem Kranz von Friihlingszierden voll

von sch6nen Frauen- ist so denn diese Stadt nicht eben diese: gefallige

Poesie?

Other "metrische Spielereien" (p. 77) include the passage 12.152-57 where Sukrtidatta inserts the names of meters-

501

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Journal of the American Oriental Society 119.3 (1999) Journal of the American Oriental Society 119.3 (1999)

mandakranta, sragdhara, sikharini, sardulavikridita, jagati, eval Jain monks. He was a courtier of Sultan Muhammad bin mdlini-in their non-technical meanings as integral parts of the Tughluq, and received firmans from the emperor for the protec- text of each successive verse, and the "figurative Strophen" tion of several important Jain pilgrimage shrines. His scholarly (pp. 423-30) such as 7.96-98 (visesaka) which, if one reads the efforts were instrumental in establishing the Kharatara intellec- aksaras of the twelve pddas diagonally from top-left to bottom- tual and ritual culture of the fourteenth century. His Prakrit

right and, then, from top-right to bottom-left, one obtains: su- Vidhimdrgaprapa is an important manual of Kharatara monas-

kr-ti-da-tta-ka-vi-ra-ja-ni-rmi-tam / kd-rta-vi-rya-ra-ja-va-rya- tic discipline. He wrote Sanskrit commentaries on several pop- su-ra-ci-tam. ular Tantric and devotional hymns, on the Pratikramana Sutras,

Historians of Sanskrit literature and Indian religion will be the principal mendicant liturgy, and on the Kalpa Sutra, a text interested in the section on the "Behandlung des Stoffes" central to Murtipujak self-identity. He is also credited with

(pp. 42-61) which includes a comparison of the Kartavirya composing hundreds of hymns in Sanskrit, Prakrit, and even

Ajuna themes in the KVU-note that the KVU only deals with Persian.1

Kartavirya's udaya and that it was not Sukrtidatta's intention Both as a Jain monk and a member of the royal court he "die ganze Kartavirya-Vita zu bearbeiten" (p. 43)-and in the traveled widely in India. These travels are reflected in what is

epics and the puranas, and also in Sukrtidatta's treatment of perhaps his best-known work, the Prakrit and Sanskrit Vividha- "Standardthemen im Mahakavya" (pp. 61-69). The section on tirthakalpa or "Guidebook to Various Shrines," most of which the "metrischen Aufbau" (pp. 69-77) compares the use of he wrote, but which also contains chapters by several other meters in the KVU with their use in other mahdkdvyas. And monks. This text is known to scholars primarily as an indis- Schneider shows linguists and lexicographers how a nineteenth- pensable source on medieval Indian geography, but it also

century author in Nepal innovates Sanskrit grammar and vo- provides a lively entree into the world of medieval Jain reli-

cabulary ("Zur Sprache des Authors," pp. 77-88). gious experience. In sixty-three chapters Jinaprabha provides There is no better way to conclude this review than by recall- literary and proto-ethnographic studies of a number of impor-

ing some passages from the author's "Vorwort" (p. 5). First, he tant Svetambara pilgrimage shrines in northern, western, and

rightly points out that "[d]ie vorliegende Arbeit befasst sich mit Deccani India. In the two-volume book under review, a revision einem von der westlichen Wissenschaft vernachlassigten Ge- of her doctoral thesis, Christine Chojnacki has provided lucid biet-der zeitgenossischen Sanskrit-Dichtung im Kavya-Stil. translations and copious historical and philological notes to

Umfangreich ist diese Literatur gewiss, veroffentlicht ist von ihr roughly eighty percent of this text. The first volume gives an weit weniger, und im Western zuganglich ist kaum etwas davon. introduction to the text, translations, and notes. She employs a Und selbst das, was zuganglich ist, wird in gelehrten Kreisen typology of tirthas: sacred mountains, cities associated with the nur selten zur Kenntnis genommen." Second, he stresses that he lives of the Jinas, other cities, miracle-stories about images, and is fully aware of the difficulties involved in editing a text be- accounts of Pargvanatha and several unliberated deities. The

longing to that kind of literature. No one is likely to blame the second volume fills out details of the Jain universal history men-

editor, in this untrodden field, "mit seiner Prasentation des tioned in the text, and concludes with indexes to the text and Werkes nicht uberall dessen endgiiltige Deutung bieten zu lists of unusual or noteworthy words and other philological konnen." matters. Her work will serve as the principal source on Jina-

prabhasiiri for decades to come,2 and represents the growing LUDO ROCHER maturity of the field of Jain studies.

UNIVERSITY OF PENNSYLVANIA

1 One of the few sources on Jinaprabhasuri missed by Chojnacki in her study is Banarsi Das Jain, "The Persian of Jain Hymns," in Siddha-Bharati or The Rosary of Indology, ed.

Vividhatirthakalpah: Regards sur le lieu saint Jaina, vol. I: Vishva Bandhu (Hoshiarpur: V. V. R. Institute, 1950), I: 47-49.

Traduction et commentaire; vol. II: Annexes. By CHRISTINE This includes the Persian text and English translation of the

CHOJNACKI. Publications du Department d'Indologie, vol. 85. eleven-verse Rsabhadeva Stavana attributed to Jinaprabhasuri.

Pondichery: INSTITUT FRANCAIS DE PONDICHfERY and ICOLE 2 The interested reader should note a lengthy and important

FRANIAISE D'EXTREME-ORIENT, 1995. Pp. 522; 214. study of Jinaprabhasiri published subsequent to the time Chojnacki submitted her manuscript: Phyllis Granoff, "Jina-

Jinaprabhasiri (c. 1261- c. 1333 C.E.) was the head of the prabhasiri and Jinadattasiri: Two Studies from the Svetambara

Laghu branch of the Kharatara Gaccha of the Svetambara Jains Jain Tradition," in Speaking of Monks: Religious Biography in

in the early fourteenth century, and one of the better-known India and China, ed. Phyllis Granoff and Koichi Shinohara

exemplars of the cosmopolitan style exhibited by many medi- (Oakville, Ont.: Mosaic Press, 1992), 1-96.

mandakranta, sragdhara, sikharini, sardulavikridita, jagati, eval Jain monks. He was a courtier of Sultan Muhammad bin mdlini-in their non-technical meanings as integral parts of the Tughluq, and received firmans from the emperor for the protec- text of each successive verse, and the "figurative Strophen" tion of several important Jain pilgrimage shrines. His scholarly (pp. 423-30) such as 7.96-98 (visesaka) which, if one reads the efforts were instrumental in establishing the Kharatara intellec- aksaras of the twelve pddas diagonally from top-left to bottom- tual and ritual culture of the fourteenth century. His Prakrit

right and, then, from top-right to bottom-left, one obtains: su- Vidhimdrgaprapa is an important manual of Kharatara monas-

kr-ti-da-tta-ka-vi-ra-ja-ni-rmi-tam / kd-rta-vi-rya-ra-ja-va-rya- tic discipline. He wrote Sanskrit commentaries on several pop- su-ra-ci-tam. ular Tantric and devotional hymns, on the Pratikramana Sutras,

Historians of Sanskrit literature and Indian religion will be the principal mendicant liturgy, and on the Kalpa Sutra, a text interested in the section on the "Behandlung des Stoffes" central to Murtipujak self-identity. He is also credited with

(pp. 42-61) which includes a comparison of the Kartavirya composing hundreds of hymns in Sanskrit, Prakrit, and even

Ajuna themes in the KVU-note that the KVU only deals with Persian.1

Kartavirya's udaya and that it was not Sukrtidatta's intention Both as a Jain monk and a member of the royal court he "die ganze Kartavirya-Vita zu bearbeiten" (p. 43)-and in the traveled widely in India. These travels are reflected in what is

epics and the puranas, and also in Sukrtidatta's treatment of perhaps his best-known work, the Prakrit and Sanskrit Vividha- "Standardthemen im Mahakavya" (pp. 61-69). The section on tirthakalpa or "Guidebook to Various Shrines," most of which the "metrischen Aufbau" (pp. 69-77) compares the use of he wrote, but which also contains chapters by several other meters in the KVU with their use in other mahdkdvyas. And monks. This text is known to scholars primarily as an indis- Schneider shows linguists and lexicographers how a nineteenth- pensable source on medieval Indian geography, but it also

century author in Nepal innovates Sanskrit grammar and vo- provides a lively entree into the world of medieval Jain reli-

cabulary ("Zur Sprache des Authors," pp. 77-88). gious experience. In sixty-three chapters Jinaprabha provides There is no better way to conclude this review than by recall- literary and proto-ethnographic studies of a number of impor-

ing some passages from the author's "Vorwort" (p. 5). First, he tant Svetambara pilgrimage shrines in northern, western, and

rightly points out that "[d]ie vorliegende Arbeit befasst sich mit Deccani India. In the two-volume book under review, a revision einem von der westlichen Wissenschaft vernachlassigten Ge- of her doctoral thesis, Christine Chojnacki has provided lucid biet-der zeitgenossischen Sanskrit-Dichtung im Kavya-Stil. translations and copious historical and philological notes to

Umfangreich ist diese Literatur gewiss, veroffentlicht ist von ihr roughly eighty percent of this text. The first volume gives an weit weniger, und im Western zuganglich ist kaum etwas davon. introduction to the text, translations, and notes. She employs a Und selbst das, was zuganglich ist, wird in gelehrten Kreisen typology of tirthas: sacred mountains, cities associated with the nur selten zur Kenntnis genommen." Second, he stresses that he lives of the Jinas, other cities, miracle-stories about images, and is fully aware of the difficulties involved in editing a text be- accounts of Pargvanatha and several unliberated deities. The

longing to that kind of literature. No one is likely to blame the second volume fills out details of the Jain universal history men-

editor, in this untrodden field, "mit seiner Prasentation des tioned in the text, and concludes with indexes to the text and Werkes nicht uberall dessen endgiiltige Deutung bieten zu lists of unusual or noteworthy words and other philological konnen." matters. Her work will serve as the principal source on Jina-

prabhasiiri for decades to come,2 and represents the growing LUDO ROCHER maturity of the field of Jain studies.

UNIVERSITY OF PENNSYLVANIA

1 One of the few sources on Jinaprabhasuri missed by Chojnacki in her study is Banarsi Das Jain, "The Persian of Jain Hymns," in Siddha-Bharati or The Rosary of Indology, ed.

Vividhatirthakalpah: Regards sur le lieu saint Jaina, vol. I: Vishva Bandhu (Hoshiarpur: V. V. R. Institute, 1950), I: 47-49.

Traduction et commentaire; vol. II: Annexes. By CHRISTINE This includes the Persian text and English translation of the

CHOJNACKI. Publications du Department d'Indologie, vol. 85. eleven-verse Rsabhadeva Stavana attributed to Jinaprabhasuri.

Pondichery: INSTITUT FRANCAIS DE PONDICHfERY and ICOLE 2 The interested reader should note a lengthy and important

FRANIAISE D'EXTREME-ORIENT, 1995. Pp. 522; 214. study of Jinaprabhasiri published subsequent to the time Chojnacki submitted her manuscript: Phyllis Granoff, "Jina-

Jinaprabhasiri (c. 1261- c. 1333 C.E.) was the head of the prabhasiri and Jinadattasiri: Two Studies from the Svetambara

Laghu branch of the Kharatara Gaccha of the Svetambara Jains Jain Tradition," in Speaking of Monks: Religious Biography in

in the early fourteenth century, and one of the better-known India and China, ed. Phyllis Granoff and Koichi Shinohara

exemplars of the cosmopolitan style exhibited by many medi- (Oakville, Ont.: Mosaic Press, 1992), 1-96.

502 502

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