 GOOD MORNING, EVERYONE. Hundred we're running a little bit late, so we're going straight away with the first panel which is on textual studies. Each panelist has got about half an hour and there's gonna be questions at the end of each paper. So hopefully they won't completely fill up the half hour with each slot. We're gonna start with Paul Dundas from the University of Edinburgh. There's a handout that goes with his paper so I hope you've got a copy of that. ond yw'n cael ei ddifo am Y Tantra i'r Ytantrwynt, y Quatidion Ddau'r Maen, ac yn ddifo'r Cymysaidd Sema Bortarrach. Mae'n gofio i'r ffordd yma, rhaed i'n gwybod i'r byd i'r gwaith o'i Lans Cossens oherwydd ym Niferthys. Dwi'n dechrau'n ddau'r ffordd o gweithio'r ddechrau Dwi'n gallu wirio, yn yr unigol yw'r fel'r unigol, a'r unigol yn iddynt arall, wedi'i gyd-diwadau. Mae'n ymdechtyn o'r ffordd i'w tliferhyn uchelol, yn gyfwyrd, neu'n typod o'u gwahaniaeth I changed the topic, my idea for the topic, at least twice since November. I was originally projecting talking about divination and I thought better about that in the new year. So the handout will make clear as I go through it what I'm going to be talking about but the overall presentation will take its cue from the 17th century de Gumbra, Soma Sena Bataraca, who I'll refer to just in a moment. This presentation is a combination of specifics and some general musings as it were and I'd like to start by referring to John Cort's pioneering paper on medieval giant goddess traditions, which was written in 1987. It seems the other day to be honest to me, I can remember quite clearly a sensation of reading it at the time. John convincingly suggests in this paper that Tantra never became a central religious idiom in giantism oing to the fact that the tradition could not entertain the possibility of a leap soteriology as opposed to step by step progress to deliverance, with liberation being viewed by giant teachings as a path or at least the end product of a path and not a single saving event. I would not descend from this view, indeed I can hardly imagine it being better put, but I would amplify it by pointing out some further areas which differentiate giantantra without actually defining tantra at this stage from its Hindu and Buddhist equivalents. Firstly I would suggest that giantism has always issued, has always rejected the possibility of any initiatory ritual which transcends or undercuts renunciatory diksha. So while there may be quasi-initiatory rituals in the surimantra literature, they are not regarded as in any way subverting renunciation, subverting diksha. Secondly, there exists no body of giant texts functioning as an alternative or esoteric revelation fitted out with systematic exegesis equivalent to what can be found in Hinduism or Buddhism. There is a resilient tradition, the giant mantra shastra has its origins in the purva texts, but as we all know these texts are lost if indeed they actually existed. One may note in passing here that among the variety of meanings assigned to the word tantra in Haimachandras Sanskrit Dictionary, the Abhidhana Chintamani, not one of these definitions he gives corresponds to text whether ritual or otherwise. And thirdly I would point out that while it's clear that some giant tantric texts do describe rituals by which powers akin to omniscience can be obtained and the practitioner made temporarily the equivalent of an omniscient kavelin, revealingly there does not exist, at least to my knowledge, any giant tantric text purporting to affect some sort of speeded-up ritual transformation whereby the identity of a jinnah can be assumed. On that basis I want to follow on from John's observation about the lack of overt soteriological implications of tantra and jainism and say something about what might be regarded as one of its potentially perplexing aspects namely the Shatkarmani, the six ritual actions and the difficulties which this phenomenon has caused for some medieval and modern giant scholars. I commence by adducing evidence from the Trivernicachara which can be approximately translated as the appropriate behaviour of the three giant classes. This is the last significant pre-modern Shravakachara or description of idealised giant social behaviour. The work was written at the beginning of the 17th century in Gwalior by the Gumbara Bhittaraka of Karanja called Somasena. I've seen in Karanja what I could identify as the autograph manuscript of this text and Somasena describes how he, although he's based in Karanja, he actually wrote the text in Gopala Chala that is Gwalior. Further information about Somasena Bhittaraka can be gained from my paper listed in the bibliography. As with many other Shravakacharas Somasena structures his work around the description of the typical ritual day for the lay giant. He starts his account with the awakening layman being enjoined to engage in dhyana, in meditation, whose characteristics Somasena specifies can be understood from Shubachandra's 11th century Nyanarnava, a work we'll hear more about today. So this is Somasena's source for meditation. He describes how negative fixations are to be abandoned by the layman as he awakes and he should develop the positive dispositions which are appropriate to the giant life. Somasena land proceeds to subsume meditation under the heading of the Avashika Samayaka, which he defines as a kind of general equanimity, which we all know. He then goes on to say that if the layman cannot engage in Samayaka at the beginning of the morning he should engage in a contemplative regime of recitation of mantras, which Somasena refers to as the most appropriate form of practice in the Kali Yuga, in the world age in which we're living. He then gives a list of mantras of various lengths, large-scale and small-scale, paying homage to the Parameshtans, the central authority figures in Jainism, and then he moves on, rather disconcertingly, to a discussion of the Shatkarmani. Now here I would draw your attention to the handout and I'll be talking to the material there over the next few minutes. This is section one of the handout and I'm drawing on verses 90 to 110 from the Trivernica Chara. The Shatkarmani are well documented in Tantric literature of all sorts, Hindu, Buddhist, and Jain. The six magic actions are here presented as eight, so the term Shatkarmani is a kind of generic one. The Benayn Shantaka and Paustaka actions supplement a core list of six, so you can see them as they're laid out there. Vasya overpowering, Kristi attracting, Stamba immobilising, and then the fourth one, which is called by Somasena, Nisheda, the forbidden action, which is the equivalent of elsewhere, Marana killing or elimination, then Vidwesha bringing about hatred, Uchata driving away by magic, Shanti, and Paustaka. The structure that Somasena gives in the Trivernica Chara is similar to one in an earlier Dgumbara Tantric text, the 11th century Bhairava Padmavedi Kalpa of Malashena Suri, which Alexis Sanderson mentioned last night. Somasena proceeds to describe the ritual involved in the performance of the Shatkarmani, the Mandala associated with each action, the direction associated with each action, the seed syllables associated with each action, the colours associated with each action, and so on. With reference to colours, I'll be referring to this in passing in a moment, but a very detailed treatment of this is given by Ellen Goff in a very important paper, which I've listed on the bibliography about entitled Shades of Enlightenment. Somasena gives a ritual for each of these actions, and he then provides a list of eight mantras, which I've included on the handout, which you can see there, and he in fact starts out with a mantra for those aspiring to gain liberation, which is basically the mantra Namaskaramantra in Sanskrit with Bija syllables and the word Pataka, or Patakebio, substituted for the more normal Upajaya. Then we have a ritual for Homa, a mantra for Homa ritual, and then we are given a succession of rituals of mantras for the various of the six magic acts, ending up with what he in fact calls a mantra for Marana, for killing. He uses the term, he's avoided it before, but now he's used the term the shader before, but now he uses the actual term Marana, and the mantra I've highlighted in black, and it ends with the Bija syllables, gay, and it's homage to the Urhats. Somasena then goes on to give a brief typology of mantras in verse 111 in which as you can see he identifies three types of mantra and three places where a mantra can be performed, and he says that a mantra aimed at an evil result should be recited in the funeral ground. He then gives a verse, this is 113, in which he provides what you might call a metaphorical interpretation of the six magic acts in which they are interpreted in a doctrinal way. So, for example, Uchathana, which means driving away by magic power, driving away enemies, is described as meaning dispelling dangers arising from the four main states of rebirth. And instead of including Marana or the Forbidden Act, Somasena includes in fact Mohana instead, and Mohana is described, I've picked it out in black, as daily confusing confusion. Now I'm leaving aside the noteworthy fact that Somasena's fairly lengthy discussion locates mantric practice and meditative activity at the very beginning of the ritual day. These topics are usually bespwned in Shravagacharas. Somasena starts off with these. It will be reasonable to conclude from this evidence that he evinces a certain degree of ambivalence about the nature and status of Lushak Karamani, and in particular this highly controversial one of Marana, of killing of destruction, which is both there and not there. He names the mantra as the Marana mantra, but then he leaves it out of his metaphorical typology, his metaphorical interpretation of Lushak Karamani. But he also refers to the funeral ground as a place where one should perform rituals which have an evil outcome. There's a degree of ambivalence here, and I want to amplify this over the next few minutes by reference to some Shwetambara texts. So if you look at section two, I've given a brief quotation from Haimachandras Yogashastra. Again we heard about Haimachandras Yogashastra last night from Alexis. Haimachandra deals very cursorily with the Shatkaramani, the six magic actions, and he gives what one might regard as a standard explanation when he deals with the equivalent of Marana because he doesn't actually name it. He says that this action involves destruction of karma, so it involves a type of destruction, but it's destruction of karma, and you should meditate on the white colour of Ong. I'm drawing on Uli Karnström's translation here. Jayaet Karamaghate Shashi Prabham. But if you want another cursory account of Marana, Nishatkaramani, then in section three I've given a quotation from Singh Hatilaka Suri's Mantra Raja Rajasya, which is written after the Yogashastra, an extremely influential text in the giant Tantric tradition, a little studied so far, although there's a perfectly serviceable edition by Jinovijaya listed on the handout as the sources I refer to are all listed. In this text he gives a highly condensed description of the Shatkaramani, as I say. He gives, for example, an account of how one wins women through the Akhristi ritual of the Shatkaramani, and also how one can bring death to an enemy. I've given the Sanskrit there without translating it. At the end it says, Shatr or Dhruvamritu, if you meditate on this mantra which is black coloured, and not white, as Hemachandra said earlier for the equivalent one, then there is Shatr or Dhruvamritu. Certainly it comes about death for an enemy. So two slightly conflicting interpretations of the Marana action. Moving on into section four one, I hear adduce evidence from a teacher who is mysterious to me in terms of chronology, Badragutachaya, who may have lived in the 14th or 15th century. Several occasions in what I've read by him invokes Kalikunda Nata, who is a version of Parshwa at the Shrine of Kalikunda, which is mentioned in Jina Prabasuri's Viva da Tirta-Kalpa. Perhaps Steve Osmight throw some light on this particular shrine. I don't know much about it, to be honest, and this may be some collateral way of dating Badragutachaya. To any rate, his Anubhava Siddha Mantra Duatrinchika, 32 verses on Mantra's master through practice, is in fact a kind of textbook about the performance of the Shatkarmani, the six magic rituals. It's not actually 32 verses, that's just a title that's meant to be reminiscent of Siddhasena Divakara's famous Duatrinchika text, so it's in fact in five chapters, and it's about 300 verses long. He describes a mantra which is connected with killing. Over the page in fact you can see, inflicting death, and I've highlighted the relevant bits. Here he describes the mantra as taking the form of an enemy and being Mritu Dham, dealing out death. In another text by Badragutachaya, the Panchanamaskara Chakrodharavidhi, which is a ritual text for the performance of mantric ritual largely centring around the Panchanamaskara, we have rituals given for several of the Shatkarmani, but in the addition that I've used of this, which occurs in the volume that will be known to some of you Namaskar Swadhyay, the two potentially controversial Shatkarmani, that is Uchathana and Marana, are omitted, and there's a square bracket intervention, in fact by the editors. They say, te niratigatwan na nirdishte. These two have not been described because they are well pointless, meaningless. In other words, the text has been censored by the editors, and this is fairly striking if you move on with the text because the text then goes on to describe and the editors have left it in. The actual rituals involved Uchathana and Marana in terms of how they are performed in mandalas. So there's been a degree of ambivalence on the part of editors towards these actions, and in particular Marana. My final block of information comes from Manatunga Suri, who was perhaps writing around the 11th century, I'm not sure about this, I'm not sure whether he is or is not the author of the celebrated Bhaktamara stortra, he may be or it may be another teacher of the same name. In his Nawakara Saratawana, which is a procreate work, he connects some of the Shatkarmani with the Parameshtins, the authority figures in Jainism, the objects of homage in the Panchanamaskara. And as you can see from the handout, the liberated souls are regarded as bringing the universe into their power, so Vashi Karana is treated in the doctrinal way. Confusion is regarded as bringing about confusion for worldly things. Teachers neutralise the effects of water and fire, so in other words this is a fairly ethical and doctrinal interpretation of the Shatkarmani, or at least some of them. But Manatunga Suri also wrote a commentary on his Nawakara Saratawana, which is in Sanskrit. It's an expansion of it, it's quite a long text, and it's quite a difficult text. And this text is really quite odd if you have certain presuppositions about what Jainism ought to be about, and what it should not be about. And I've just given you some kind of sense of some of the material that's in it. He discusses the Shatkarmani at some length, sometimes as being curative rituals, but sometimes as really quite aggressive rituals. And here we find something which is very rare in Jainism, the use of mortuary-derived symbols and mortuary-derived symbolism. So he refers to bringing divine women into one's power through inscribing a yntra on a female skull, affecting the untimely death of an enemy by inscribing a seed syllable on a human skin with a mixture of poison and blood, driving away enemies located in a funeral ground by means of a ritual involving skulls. I'm just reading out what you can read on the handout. There's a lot more of this material in that text. It's a rather difficult text, in fact, I would have to say. And I might explain why the editors of Namaskar Swadhyaya, the volume from which I'm taking this text, which is an extremely important collection of giant mantric material edited by three extremely prominent Shwetambara scholar monks, runs in tandem with a Gujarati translation. But for a list text, the Gujarati translation is omitted. No reference to this is made. The reason, quite simply, it's assumed that loads of read sounds can read this and draw their own conclusions. So what I'm drawing attention to here is a degree of ambivalence about the Shatkaramani both historically and in scholarship. The most recent discussion I know of the Shatkaramani is to be found in Sagramal Jain's Hindi synopsis of Jain Durn or Tantric Sadna of 1997. It's on the bibliography, which provides a largely descriptive, non-analytical account of an extensive repertoire of Jain mantras and Jantras and Mandalas and so on. It's a really very interesting book, but for those of you who know Sagramal's scholarship, you won't be surprised to learn. It has no footnotes and the referencing is rather awkward at times. Sagramal reaffirms what one might call the orthodox position that the Shatkaramani were understood historically by Jain's and spiritual nonviolent terms relating to the attainment of liberation. He says that the Shatkaramani perceived from what one might say is a generalized non-Jain perspective are a kind of perverse equivalent of the six avashikas, the obligatory ritual actions which lie at the core of Jain renunciant and lay disciplinary behavior. Jain monastic teachers, so Sagramal asserts, never prescribed engagement with the, as it were, Tantric Shatkaramani, always preaching against rituals such as marna. And he says that the Shatkaramani entered into Jainism through blind imitation, his expression is undano karam of Hinduism, a fact that can be gauged from the Shatkaramani mantras being framed in Sanskrit rather than Prakrit as in fact you can see from the handout. He furthermore asserts that as a rule mantras composed in the Jain tradition relating to marna and such like are actually not found. He says well we've got descriptions of marna but if you actually look around Jain teachers never formulated mantras relating to it. Well there's at least one mantra that I've given you on the handout which is a mantra for marna. Sagramal's got an explanation for who was responsible for this and this echoes what Alexis said at the end of his lecture last night. The agent's responsible for the appearance of the Tantric Shatkaramani in Jainism are not real Jain acharyas, he takes a purest line here, they're a domesticated renunciance and he's got a kind of rogues gallery here. It's the Chaitiyavasans who get blamed for an awful lot of things in Jainism up to about the 13th century, the domesticated temple dwelling Shwetambra ascetics and then more recently it's the Yates, the kind of modern alloforms of the Chaitiyavasans and then I'm sorry to say he also invokes Digambra Batarakas as being responsible for the perpetuation of this sort of activity, quasi-renunciant figures and this is a kind of rerun of the enlightenment critique of the debasement of true religion by corrupt priestly class. In concentrating on the Shatkaramani in this presentation I'm about to finish, I've no intention of attempting to reveal a suppressed dark side of Jainism or to dismay those who would feel that Jain ethics insulate the tradition from any possibility of engaging in potentially frivolous or malevolent ritual practices. Rather we might recall the observation by Hudrian in what remains the best study of the Shatkaramani in Hinduism and Buddhism at any rate in Hindu and Buddhist Tantra that quote, the Shatkaramani system is not merely a group of cruel or magic acts but it comprises the whole range of human effort and objectives as reflected in ritual. I would conclude ever so whimsically by suggesting that the ambivalence or reticence in the part of many medieval and modern Jain authorities about the nature of the Shatkaramani and in particular the status of Marana it exists and it doesn't exist it's not really important one can explain it away is perhaps analogous to the broader position of Tantra in Jainism as represented in much scholarship on the tradition it's there but it's not really there there does exist something which can be called Jain Tantra but it's not really Jain Tantrism so I'm looking forward to hearing more about this today and possibly hearing some of these questions answered thank you thank you very much so the next on the panel is Jagatran Bhattacharya from Shanti Niketan who's going to give a paper on the Tantric elements in the original Prashnaviya Karana a study. Good morning the topic is Tantric elements in the original Prashnaviya Karana as we know that Prashnaviya Karana is known as the 10th Anga Canon of Jain Shutambara text at the same time we know that the subject matter of Prashnaviya Karana what we have today is artificially inserted as the Prashnaviya Karana these days the subject matter what we read these days that is the asrava and sangbara but it is considered that the original text the Prashnaviya Karana has been lost or had been kept in unknown zone that is in the sense of that that it should not go to wrong hand and to prevent misuse of the supernatural powers supernatural things omens and these materials what are written in the Prashnaviya Karana fortunately I had the manuscript from Nepal archives and I have tried to edit that text and what I found I want to present before you that it is it was lost or it was kept in dark in the sense that it should not go in the wrong hand till now I don't consider myself a proper person to hold this text and so it is not in proper hand so I don't have any handouts Jain scriptures are focused on different facets of spiritual practices though apparently it seems contradictory with each other when referred to its basic standpoint a sociological sociohistorical study better explains how a demand arises with a phase of time and practices tend to accept foreign elements and the whole factor leaves its impression on the main theory this particular phenomenon is evidently seen in some of the scriptures of which Prashnaviya Karana is very important the subject matter of the scriptures basically deals with ethics epistemology metaphysics and cosmology in this reference the name Prashnaviya Karana does not correspond to the scriptural phenomenon in Indian perspective every term or word has particular meaning to get that meaning three main methods are taken into consideration such as Bhipatti, Nirvachana and Lakshana therefore Prashnaviya Karana has two words Prashnaviya Karana this compound word has a simple meaning that question in grammar in this sense a particular scripture cannot correspond to the spiritual purpose does the above said meaning leaves a scope of other options into it Bhya Karana has its different explanation that does not stand for grammar alone Karana means sadhana an instrument and Bhya is explanation or elucidation now Prashna stands for question but here it is related to the word Bhya Karana and after this Prashna holds another meaning when relatively applied and that meaning is where Prashna is the instrument of explanation or exposition this meaning seems to be more significant in reference to spirituality in reference to tantra in the first chapter it is Vargarachana the verse number three an exposition on the word Prashna has been given by raising a question the answer has been given it is written in prakrit this is again to be described as jinnaprakrita the exposition of jiva bhoginn jiva bhoginn is the commentator of this text goes thus the activities those are going on within the three worlds including deba loka and patala loka are subject to excessive virtue the knowledge of these activities is the source of excellence in the intelligence and that is to be called prashna in other way which is to be called in the name of jinnaprakrita so this verse clearly says about the subject matter of the scripture when explaining prashna again the virtuous knowledge is being explained thus di kala putikanga vidhyang tarka angsakaddhyom anjala di nam etc here putikanga vidhya means the enveloped past knowledge of directions or dimensions a diam then tarka angsakaddhyom anjala di nam gianam means forming the past or past of debate as the resource of well-being and the knowledge of that does your knowledge means the erudition which is the past of hindered activities in reference to direction and the time frame and also the resource of imparted debate or logic meant for the state of wellness that is here meant as excessive virtuous in keeping with the tradition this scripture has described anubandha chatushtaya in the beginning of the work along with the benedict reverse so with explanation of prashna the subject matter or bishaya has been mentioned which is one of the fourfold anubandhas though the present text has been written or compiled by an acharya who is undoubtedly belong who undoubtedly belonged to the digambara sect and he composed the main phrase in shawrashani prakrit but the reference of a prashna is rarely seen in the original digambara texts most importantly the meaning of a prashna is completely different and it does not even correspond to the scripture in this respect a shwetambara texts made the sense of prashna as it is presented in the manuscript the shwetambara text goes thus it is in samavayanga commentary here it means that mantra which which can tell the merits and demerits after the study of one's thumbs and arms on the other hand shatabhangi tarangini which is one of the digambara texts describes prashna as prashnika nistha jighiyasa prathipadakam wakiyang hi prashna ityuchate that sentence which corroborates the queries as it emerges in the mind of the person who puts the query prashna also represents the meaning of a problem as it is seen in dhavala all the shwetambara canons are commonly acknowledged by the digambara sect so being one of these canons prashna vyakarana is also equally counted by the digambara so digambara have referred this as the 10th book of the 12th fold angus this much mention has been found in srutag giana where as in nandi the passage goes on the introduction to the prashna vyakarana dhaals panhavagara nesu hannang athut tarang pasina sayang athut tarang apasina sayang athut tarang pasina pasina sayang anni cia bicitta dibba bija sayang nagasubad nehing dibba samabaya agavijan agavijanthi senang agavitai dasame anghe sankhe jaanang payasahasaing payag genang etc here the subject matter of the text prashna vyakarana has been described it says in prashna vyakarana 108 fold each prashna or prashna and prashna prashna and many more varieties of divine erythens of excellence with with serpentines and super medities the divine dialogues between each other and that is the 10th out of angus which has been of volume of thousands of fathers in this verse the candidature of a person who asks a question has been mentioned here it is stated that annang panhang tu baas manus and annyad grahane na suswagataad anantaram prichaka charia bastu sangsu chaka wachanam parigrihyate the whole passage is concentrated on the meaning of annya here annya means ignorant women and children therefore prashna is considered to be those statements which are raised by the ignorant women and children this verse corresponds to well with the bhagavati aradhana where it goes does i am just escaping the text the meaning is that e niriyapaka charia in his research after asking or enquiring chaita moni ariaka sravaka bala madhyama and briddha this is told in some different context which is again related with the subject of prashna here it is told in the context of defining a prashna kushala sadhu an expert ascetic asking about other queries what is more important here to mention that what kind of prashna has been meant here the answer is found in the context of niriyapaka niriyapaka is stated to be that acharia or a competent mendicant who help in performing bau's taken by renouncer especially when in sanlekhana niriyapaka can help an advancement of spirituality by holding others right usness in right spirit and does helps in self purification as also swtambad tradition bewa harabhashia goes on the definition of niriyapaka does the definition refers to the context of different fashons of accepting death with righteous purpose the meaning is that that sage who has expertise in purification especially through the phase of observing bau of accepting righteous death with fasting etc and penance so this is the quality of a prashna kushala sadhu it is now clear that what is a prashna and who is a competent person of putting a prashna or query here it is very important to understand the significance of prashna in reference to prashna beakarana in the verse number three two more on wonders have been discussed such as sambandha and prayo jana there is a term jina payadam mentioned in this verse in this in its explanation jibabhogin named kebali naama maharasi this has a special reference in this scripture all other anga canons are delineated by the ganadharas but prashna beakarana is the only anga canon which was depicted by a kebalin this is a significant difference of the source of compilation of the 12 fold canons so it is related to the kebalin and omniscient in respect to the source of knowledge that which is counted to be the bishaya as per prior discussion therefore sambandha is found to be in the to be in between the source the knowledge of kebalin and the bishaya another point may be mentioned here that whatever means are used in the above practice but the mind is the essential medium of producing the answer for which a prashna was put that is why nimiti i just point out the name of naimitika nimitaka on that part this person i'm just reading out but the mind is the essential meeting of medium of producing the answer for which a prashna was put that is why nimiti represents the meaning of matiman and buddhiman etc the mentions of sthita biparitam aditya brantimca gyatwa and prattach sresu patchakha bachya sresu ba are the instances of special kind of calculations actually in the tradition of nimitaka gyanna and naimitika etc discussed under supernatural activities eight types of nimitaka gyannas are mentioned here the person who practices is called naimitika dusudang cheiva dudithang aggahetung sadabhabe sadithang sasudang cheiva gahidabang kamein adu the merits and demerits of the prashna has been described when discussing the candidate with honest purpose and with the righteous purpose as a prashnak prashnakarta among them the person who puts question with righteous purpose should not be entertained with unrighteous purpose should not be entertained he should not be counted to be a competent candidate for asking question the ignorable demerits and the useful merits of a naimitika are the main object of verse number seven and eight among the ignorable parts it is told that to be a naimitika one should not be inclined to the other school and practices so a term ananna manasa has been used in the same meaning jiva bhogan has explained it in this manner na nesu sastresu manasa sakting koriart the answer is this it is not possible to have a clear vision and right knowledge in the scripture if one has interest in other scriptures which are meant to be the other schools or practices then a question has been raised in the explanation now in terms of defining the eligibility which makes one naimitika the verse number eight goes us that person who puts his thought with indifferent mindfulness in the particulars of the direction and the symptoms the activities taken place and things and their situation and the symbols and signs and the person who asks the question in all these things which is meant to produce the result again raising question why the term madhya seina has been used here the answer is that indifferent mindfulness the expected outcome is possible to forecast not only that the probable cause of violation or variation in difference is also mentioned in the exposition it is said when forecasting or delineating something one should not be under control of inadvertence attachment or aversion so it is not only bare concentration along with indifference and expected naimitika now we see a naimitika does not represent a simple intelligent person but who has the knowledge or extrasensory power to forecast unseen aspects of life as it is seen in the verse number nine and in its supplements therefore a naimitika is better to define as a knower of nimitta sastra because without knowledge practice is not possible so only knowledge has been referred to here while practice is not emphasized here so it was told in the verse number three madhimaham upadah etc etc now onwards the verse put forth an account of the letters and the process of conjunction and the variety in detail the name of the chapter is vargarachana here it comes the subject matter of the chapter vargarachana also non-conjunct letters have been discussed in the verse number 10 now there is a chart table there is it is called that that all the alphabets vowels and consonants are arranged in a system it is called ostobargika and panchobargika ostobargika that eight columns and five rows here also that there is the due to the bija mantra these letters have great implications so first that vargika ostobargika it is that ah a ka cha ta ta pa ya sha etc etc second is ah aika cha ta ta fa ra sha i o ga ja da da ba la sha next i au ga ja da da ba ha ha next u u u wang ya na ma ang ah etc etc so i am not going to read out the whole text first thing is that there are 34 chapters rather 35 chapters including the parisista the first chapter it is vargarachana there are so many things that although it is prashnau vakarana it is said prashnau vakarana the prashnau vakarana it corresponds to the the the grammar part as well as these all alphabets all letters or phonemes those were related with the nimit the sastra with the with the supernatural with the aspects and it is written here also it is very difficult to waifarkate that it is a grammatical part is discussed here or the bija mantras or something like that is very much related to nimit the sastra is there we have a very quick look of the other chapters the matter materials of other chapters the second chapter is a yoni nirdesha and it is the drabbas of dhatu mula and jivas and the category of nastamusti and cinta etc and in this chapter all the sounds based on vowels and consonants are placed in numbers the quantity of vowels is also mentioned and there are certain certain terminology are there which is not we find in Sanskrit grammar or the paninian system so lagu akshara guru akshara and varga akshara tiriyant matra ordha matra urdha matra et cetera et cetera discussed in the second chapter third chapter is a siksha prakadana and here it is dealt with the articulation the place of articulation in in paninian grammar the word the sound the place of articulation is something different and here it is mentioned that such as ura ura means from the chest contour jiva mulia talabria and ostha et cetera okay i'll just five minutes okay i'll finish this the fourth chapter is sankata bicata and some letters are denoted as sankata like that vowels are e and the seventh a and some letters these are called bicata this chapter is called sankata bicata next fifth chapter is uttara dhara uttara dhara it is the description of gradually descending form of all substances and the sounds both vowels and consonants and the terminology such as uttara adhara laghu guru abhi hata anabhi hata form of sounds uh these are we can find in in the fifth chapter sixth chapter is abhigata abhigata is based on the sound of letters that is alingita antara didha abhidhu mitha dagdha charimasara et cetera are used for these vowels and consonants and the seventh chapter it is jiva sangha bhedha and there is ashtabargika and panchabargika what i told now and eighth is jiva chinta based on uh that bipades quadrophates humans subhumans and gods and specially uh description of human characteristics with the with the sounds and vice versa ninth chapter is jiva chinta it is description and relation of sounds with other creatures such as insects birds and animals the tenth chapter is dhatu chinta and this this is of course the metals gold silver copper lead iron and interestingly that dhatu the metal has the gender also so gender feminine gender and and masculine gender there are some some some metals are there anyway and mule sangha the description of vegetation body creepers bush and tree and mule chinta is 12th chapter discussion on the trees and fruits 13th chapter musti gyana it is uh it is bija mantra and the direct result of this bija mantra is discussed here and 14th chapter is sankata bighata it is the supplement of the fourth chapter and 15th chapter is sansthana bivhaga it is quantity of vowels breath didgha triashra triashra chatusra et cetera et cetera these are very new and we cannot find infinite grammar so uh and in consonants also apart from breath didgha triashra chatusra we find ayata and mishra and uh there is the word na bivhaga description of the colors of sounds so such as ah e and ah it is a smoky blue smoky color and oo is black yellow and smoky and e is white i is smoky blue et cetera et cetera the the vowels those who have colors here and the consonants also the colors and then the 17th chapter is ghanachydra bivhaga it is some ghanah some words some phonemes some sounds are very solid some are flexible and it has some sub chapters gandha bivhaga rasha parimana nastika swagriham kanda et cetera gianna kanda that is swagianna swajana parijana that is the related family members and the and the outsiders and the guests and happening in the house and the outside and uh ori about uh that fear from death et cetera uh written here sankhya the 19th chapter sounds both vowels and consonants identified with numbers has the specific implications used to calculation permutation and combination and the lifespan it is related with the lifespan kala anayana uh it is uh the time that the day wake month and et cetera et cetera okay so nakshatra anayana and there is uh some 34 chapters and i have written here the subject matter only i have not discussed elaborately and it is very herculian dusk to do that and to be very frank i am not a competent authority i am not a uh student of tantra so to to decide for all that not all the uh subject matters is very difficult for me and it is written in sorosini prakrit the commentary is in Sanskrit mixed with prakrit so it is the very first time i am just dealing with this subject and okay thank you