thriloka shathaka of mahakavi rathmakara translated by dr raveendra hosadurga

 

 

 

(self corrected)(to be corrected by scholars):

Thriloka shathaka of maha kavi  yogi  rathnakara:

 

Thriloka shathaka of mahakavi  rathnakara writen by mahakavi rathnakara ,translated by dr raveendra hosadurga.i am greatful to  original poet  and editer  sri prof .brahmaiah. g.  and hif family mrnbers  and publishers  rathnathraya prakashana.translation is my hobby.please excuse and correct if there are any mistakes.

 

General (self)form of world(universe)-1:

For   description of world form there is important place (position) in jainagamas.in ‘drustivadanga’which is last part of ‘dvadashanga’(twelth part) there is division called ‘parikarma’.in this 1) chandra prajnapthi 3) surya prajnapthi   3) jambu  dveepa prajnapthi  4) dveepa saagara prajnapthi  5) vyakhya prajnapthi  are subdivisions.among these   except ‘vyakhya prajnapthi’ remaining all describe world form(loka svarupa)and secrets of universe. In ’purvagatha’which is  fourth part of drustivandanga  there are ‘chathurdasha purvas’among these  last part ‘lokabindusaara purva’ world  matters are described.to prevent ‘shrutha vichhedana’remaining agamas are  consolidated and divided into  four ‘anuyogas’.

Among these ‘anuyogas’  books  of recent  acharyasare included and classified.all books which deal with ‘karananuyoga’ are collected which describe  world form.(loka svarupa).those mass of jaina books which deal with astronomy and geographyare  grossly called ‘karananuyoga’.

 

Among acharyas who came after mahaveera have writen books which describe world form either in part or as whole(partless,akhanda).1) loka vibhaga 2)thriloka saara  3) thilio pannathi 4) jambu dveepa pannathi,chandra prajnapthi excetra books can be named.

 

samantha bhadracharya  has finely described importance of‘karananuyoga’.whe world form (loka svarupa) is thought  jivies will accumulate ‘punyakarma’.because in four kinds of ‘dharma dhyana’there is one maditation(dhyana) called ‘samsthfanavichaya’.in this thinking of three world form(thriloka svarupa chinthane) itself is meditation to be done by practioner(achiever).loka anuprekshe which comes in ‘dvadashanupreksha’ also supports this only.though there are many branches in  ‘prathamanuyoga’in jaina epics,in them world form is  is described cat least grossly.it has come as a tradition  from that day to todayin sapthanga(seven parts) of dharma katha kshethra division is second

 

whether purana (epic) of thirthankaras ,or history of ordinary kevali’s  of mahathme(greatness) of akshies and yakshas start  only  after three world form (thriloka svarupa) main story  will start!

 

In infinet sky there are three worlds.occupying thriloka(three worlds)    called1) ,ghanonadi ‘2)’ghananila’ 3) ‘thanuvatha’ which are three  air zones(vathavalayas)Thriloka  is base(residence)  for conversion of all jivies.nobody has created it.it has no  beginning and  end.this is not artificial and eternal(nithya).

‘Shad dravya’ is filled in it.the part which exists beyond   this world is  called ‘aloka’.

 

With  feet  widened  keeping hands on waist standing dancerresembles this  shape of the world.(lokakaara).it’s lower portion is like peeta of bamboo(stick),middle portion is like jhallari(………………?),upper portion is like mrudanga.like keeping one more maddale on half maddale shape of three world appears.(shape of three world,thrilokakara).this thriloka has length of fourteen ropes(rajju)from bottom to top.from east to west at broad base (botto) seven ropes,on going above  breadth becomes narrow,at height of seven ropes is only one rope broad(wide).again increasing at the height of seven ropes  is merely one rope broad.again increasing  at the height of leven ropes this rope becoming wide  of five ropes, again narro  wing  at the tip becomes  only one rope breadth.

 

Like kernal(thirulu) in midst of tree  in midst of world  from botom to tip one rope breadth,one rope length ,fourteen ropes height’thrasanaali’is there.in this thrasanali two sensed(dveendriyaadi) thrasa jivies are all(mooving abimals) reside.’thrasa jeevies’ can’t be outside thrasanaadi.’single sense jivies’(ekendriya jivies) only can exist inside and outside  thrasanaadi.

 

Madhya loka(middle world) is is in middle partwith only obe rope breadth.below  this is ‘adholoka ‘above middle world(madhya loka) is  upper world.(‘urdhva loka’).

 

Hell world:it exists  below  middle world  with one rope breadth has got down one thousand yojanas  belowbase of maha meru(mandara)supportive to it  there is ‘rathna prabha bhumi’(rathnaprabha land) .in this one below another 1) khara bhaga2) panka bhaga 3)abbahula bhaga(parts) are there.is first and second part’bhavanavasi’and ‘vyanthara’gods reside.abbahula part is is ‘prathama naraka’(first hell).from below herein middle middldeleaving one rope sky distance one below another 2)sharkara prabhe 3)valuka prabhe 4) panka prabhe5) dhuma prabhe 6) thama prabhe 7) ‘maha thama prabhe’ are secondary  six hell lands.if first ‘rathna prabhe’is added to it  totally there are seven hell lands.these names are kept according to colours of hells.tto this1) gharma 2) vamsha3) megha 4) anjana 5) arista 6) maghavi 7) maaghavi names are also there.each hell one below another present ghanodadhi,ghanavatha,thama vatha is standing on  three air zones(vaatha valayas)..these air zomes(vatha valayas) each one  has thickness of twenty thousand  yojanas.below them is sky.in these seven hills  totally there are eighty four lakhs ‘hell holes’(bilas) .

1)    In rathna prabha –thirty lakhs

2)    In sharkara prabha –twenty five lakhs

3)in valuka prabha-fifteen lakhs

4)in in panka prabha-ten lakhs

5)in dhuma prabha-three lakhs

6)in thama prabha-five less to one lakh(99,995)

7) in mahathama prabhe-five only

In this way there are holes(bilas).

30lakhs+25lakhs+15 lakhs+10 lakhs+1 lakh-5+ 5=84 lakhs.

In these seven hellstotally there are 49 patalas.which hell holesupper partcomes to one same levelall these holes(bilas) are  called one patala.in each hell above and belowone thousand yojanas away I middle there will be patalas.to these patalasthere are names called ‘indraka’ prastara’’antharbhumi’.in patalas1) indraka 2)shrenibaddha 3) prakeernaka  these three kinds of holes(nests?) are there.middle main holes are are called ‘indrakas’.those which are in all eight directions of indraka are called ‘shrenibaddha’. Around these like blosomed flowers  are ‘prakeernakas’

 

In these hells narakies reside.in first hell  according to patala starting from three molas(measures)up to seven bows and three and half molasbody size of hell dwellers  exists.in lower hells size of body  goes on indreasing .in ‘mahathama prabhe’ much more means  there are narakies  who are having size of  five hundred bows.

 

‘leshye’’’body’ ‘effect’ all these are  bad.(ashunha).in them always bad (ashubha) karmas arise.1) sahaja( natural)2) shaarira(tone), 3) mental (mind) 4)agamthuka(uninvited).these are of four kinds of paines) narakies suffer.(experience).to them  there is  ‘vythriaka deha’  they can wear any  body as they wish.but by those forms  their sorrows will not reduce even a little(thil).narakies(those who dwell in hells)fight and quarell each other and  increase their previous  sorrows

 

Apart from that to first three hells frequently  low effective gods go to sufering narakies(hell dwellers)telling reason of old enemity  of past life (purva bhava)trouble them!asurakumara (demon son) gods are of nature of getting joy by troubling others.they go and come to first three hells now and then!

 

Longevity of naarakies(hell dwellers) goes on increasing from  hell to hell .ih first patala of  first hell  longevity from ten thousand to ninty thousand years.the same is in seventh hell from minimum of twenty two sagara(ocean)to maximum of thirty thousand ocean(sagara) years.there narakies suffer and dwell!three fourth of fifth hell there will be more heat beyond imagination..from there nextcolk goes on increasing reaches maximum. 

 

Redevelopment of narakies:hose who have completed  sixth hall may undertake (practice) ‘anuvratha’.they are not fit for receving (accepting,practicing)mahavratha.those whohave come from fifth hellthough they undertake (wear) they will not become ‘thathbhava mokshagamies’.those who have come from fourth hellthough they become ‘charama dehiis’ will not become thirthankaras..those who come from remaining  hells may become thirthankaras.

Those who have come from  these same  hellswill not become vasudeva,prathi vasudeva’baladevachakravarthies.those who have nature of thirthankaras  have accumulated good karmas(shubha karmas)in past life.”

 

Nigoda:below mahathama prabha(seventh hell land)one rope limitedsky refionis place where  ‘nigoda’ jivies take birth.this is more sorrowful placethan hell.in lives(jivies) here  there are two kinds ‘ithara nigoda’ ,nithya nigoda’.ithara nigoda jivies can come out.nithya nigoda jivies can’t come out.

 

Middle world:in middle world there are numerous islands and oceans are there.theyare having diameter of ne lakh yojanas and global in shape like sun system.in middle of this there is ‘mandara parvatha’(mandara mountain).around jambu dveepa(jambu island)two lakh yojana broad  salt sea is there.using salt sea four lakhs yojanas broad  ‘dhathakikhanda’island is there.it is sourounded by by ‘kalodadhi’ ocean which is  eight lakhs yojana broad.sorounding kalodadhi sea sixteen lakh  yojanas broad ‘pushkara island’ is there.in middle of his there is ‘manushotthara ‘mountain ,in pushkara island there are two parts.in first half part two times of jambudveepa  or equal to dhathakikhanda  all types construction is also there.jambu dveepa,lavana khanda,dhathakikhanda,kalodadhi sea,pushkarardha,(upto manushotthara),they are called ‘manushya loka’it is also called ‘twoand half island’ also.

 

 Water mooving animals   live only in salt ocean,kalodadhi and in ‘svayambhuramana’sea.eighth island is called .nandeeshwara’.of all  seas final(end) sea is ‘svayambhuramana.’

 

Jambudveepa(jambu island):

Jambu dveepa is in midst of islands.east to west  spread six  kula mountains divide  jambu island into seven areas(regions).1) himavantha 2)maha himavantha 3)nishadha 4)neela 5)rukmi6) shikhari.these kuls mountains  in jambudveepa while going from south to north have spread from east to west.seven areas done by these  successively 1)bharatha 2)hymavatha 3)hari 4)videha 5)ramyaka 6) hyranya7) iravatha,mandara mountain is there in midst of videha area.(kshethra).

The side land of thesekula mountains if filled with  various rathnas.himavantha is gold mountain,maha himavantha is silver  mountain,nishadha mountains  are made by chembonnu(red gold??……………).full neela mountain is filled with vydhurya.rukmi is formed out of silver.shikhari is from gold.

 

Above kula mountains  successively 1) padma 2)mahapadma 3)thigambha  4)krsari  5) maha pundarika 6) pundarika  lakes.these like mountains have spread from east to west.in each lake there is one great lotus.(maha kamala).on that lotuses  successively  sri,hri, dhruthi,keerthi,buddhi,lakshmi  godesses are residing.they live for one ‘palya kala’.near them sabhasada  and samanika  called godesses are  residing in separate (diferent ) lotuses.

 

 In  bharatha kshethra  excetra  successively  two to each ksnethra 1)ganga –sindhu 2)rohitha –rohithasya 3)harith-harikantha 4)seethe seethode  5)naari-narakanthe  6)suvarna kule –rupya kule  7)rakthe –rakthode   named fourteen rivers are flowing.in pair rivers  first one is  purva sagara of  corresponding region.second  joins  west ocean. In each kshethra there is sea in east and west .

 

Bharatha kshethra:bharatha kshethra extends from  himavath mountain towards south  upto salt sea.in it’s middle region there is ‘vijayardha mountain’extends east to west  upto seas bharathakshethra  is divided into ‘north bharatha’ and ‘south bharatha’mahasindhu born in himavath mountain , flowing rom north to south    joins west dea.mahagangaflowing from north to south  joins east sea.

By this  in north of vijayardha three continents(parts,khandas) and in south of vijayardha three parts  are formed naturally.among three parts(khanda)  of south india middle one is ‘aryakhanda’.this only is our residence.all remaining five parts of  bharatha khanda are ‘mleccha khandas’in which mlecchas live.one who wins over all these six parts becomes chakravarthi(emperor).without wining over three north khandas (parts)  if one wins only three south khandashe is called ‘half  chakri.’(half emperor).

 

Therefore only this mountain  is called ‘vijayardha’.to madhyama kuta of  himavath mountain of north india  in south there is vrushabhadri.on bank of ganga of south india  there is kailasa mountain.

 

kshethras like  hymavatha excetra: 2)to circular mountain  in hyvamatha area is called ‘vrutthavedadhya’.rohithashya starting from   padma lake of hyvamatha area river using south half of vrutthavedadhya mountain  joins west sea.in mahahimavantha mountain which is in north of this area born another riverrounding north  half of vrutthavedadhya mountainflows to east sea.in this area(kshethra) there is ‘jaghanya bhogabhumi’.

 .

3)    In hari kshethra also  like hymavatha  there rivers and mountains.here is ‘madhyama bhogabhumi’.

 

4)in videha kshethra  globe shaped mountain is called ‘sumeru’.in northern   and southern parts   there high bhogabhumies. These are called utthara kuru (north kuru) and dakshina kuru(south kuru).in east and west also there are karmabhumies.sitha and sithoda rivers  covering sumeru  successively  fall into east and west sea. Thirty two karmabhumies in videhain each there is  one vijayardha mountainand two sub rivers are there.here to north of meru here are bhogabhumies called  utthara kuru and dakshina kuru(north and south kuru)

 

5)ramya kshethra 6) hyranyavatha kshethra : in these  in each  one mountain and two rivers (mahanadi,great rivers) are there.in these kshethras as jaghanya bhogabhumi  hyranya kshethra  as madhyama bhogabhumi  ‘ramyaka’ kshethras are there.

 

In bharatha and iravatha kshethras according to ‘uthsarpini’ and ‘avasarpini’ jiva’s  power,body,longevity, happiness  in these there will be variations.for details  time division(kaala vibhaga) should be seen.

 

Dhathaki khanda(part):this covering salt sea  fours lakhs  yojana broad.as jambudveepa is   globe shaped, there is possibility  for mountains east and west only.as dhathakikhanda is like bangle  like wheel divided by teeth  this also is  divided by   by mountains.middle region of these mountains  each is called one kshethra.(area).in this khanda(part) there are twelve  mountans are there.two merus are there,fourteen kshethras are there. (that means two times   of jambudveepa in structures).in this island there totally 68 karmabhumies and 12  bhogabhumies are there.

 

Karma bhumi –bhogabhumi:

(karma bhumi-areas which are helpful  karmakshaya (lessening of karmasdBhogabhumi-karma kshaya is not possible.there is no need for labour for livelihood also in thia land.)

 

 

Totally karmabhumies are  170 in jambu island,2 karmabhumies in bharatha and iravatha kshethra,in videha 32.68 in dhathaki khanda,68 in pushkarardha(2+32+68+68+=170)in karmabhumies   of videha in each one vijayardha and two rivers  and six khandas(parts).here emperores(chakravarthies) win  these six bhoga bhumies.(enjoyment areas,lands).

In  jambu island six bhogabhumies are there.in dhathakikhanda there are 12 bhogabhumies.in pushkarardha 12 bhogabhumies,n jaghanya bhogabhumi for jivies(lives) there is one ‘palya’ longevity is there..in middle bhoga bhumi two ‘palyas’ of longevity limit.in utthama (better) bhogabhumi  longevity is three ‘palyas.’

 

Humen:in jambu dveepa ,dharaki khanda,,pushkarardha dveepa  in these two and half islands ,along with salt sea,,kaloda seas,there are human residence and journies are there.in salt sea and kaloda sea there are 96 ,’anthardveepas.(inner islands)these are all ‘kuyoga bhogabhumies’.here only humans live,but they are of curved(ugly) shapes. ’

 

Hymavatha,hari varsha,devakuru-

To humans who live in this area  successively one,two,three palya longevity ,but videha people  extrardinary means  one crore purva kala, very  less means ‘anthamuhurtha kaala’ they livrheight of people here is of 500  bows(dhanassu) .

And supreme longevity of  dumb animals is three palya,jaghanya longevity is  only

  antharmuhurtha limited.

 

Mandara mountain(mahameru):in middle of middle world there is mandara mountain.in it’s basement(ubderground?)  has gone down for one thousands of yojanas.from bottom of earth  ninety nine thousand yojanas above this mountain has grown.it’s peak has  about forty yojanas vastness.human world’s (two and half island)sun and moon always  rotating  around  this mandara mountain.under mahameru there is land called rathnaprabha   which is  supporting this.under mahameru bhavana loka(world),vyanthara wotld, ad hells  are there.on mahameru there is  heaven.both mandara and mahameru are same.

 

Uurdhva world: on top of peak of   mahameru(mandara)leaving gap of one hairuurdhva  world has  spread above abovein this ‘vymanika gods’ reside..in heaven sixteen kalpas,beyond that gryveyaka,above this there is anudisha.beyond this anutthara also has spread.

 

Kalpas:from  downwards above in pair  here are sixteen heavens.these are callad ‘kalpas.’ In god’s here  attender king excetra low high are there.so they are called kalpas.

1) sowdharma  kalpa has spread to north

2)eshana kalpa:  has spread to south.by these two kalpas respectively  as mooving above in pairs and pairs ,

3)Sanathkumara kalpa

4)mahendra kalpa

5)brahma kalpa

6) brahmotthara kalpa

7)lanthava

8)kapista

9)shukra

10)haha shukra

11)shathara

12)sahasrara

13)aanatha

14)pranatha

15)aarana

16)achytha- these kalpas are there.at the tip of  brahma loka lokanthikagods are there.this is called  brahmaloka(world)

 

 to above four kalpas to each  one one indra is there.these are respectively  called

1)sowdharmendra 2) eshanendra 3)sanatkumarendra 4) mahandrendra .in same way in last four kalpas there is one indra to each kalpa.these are called 1) anathendra 2)pranathendra ,3)aranendra 4)achyuthendra.in middle eight kalpas ,to pair pair kalpasone one indras are there.o braha  brahmotthara’brahmendra’,

To lanthava and kapista ‘lamthavto shukra and mahashukra’Shukrendra’ ,to shathara  and sahasrara ‘shatharendra’,-are ruling in this way.

 

In these kalpas there are  fifty eightpatalas are there.in each patala  indraka,shrenibaddha,prekeernaka aeroplanes are there.anomg these indraka,aeroplane dominant.in  urdhvaloka totally sixty three indrakas are there.These are called ‘thrishasti svarga patala’.

 

Kalpatheetha division:gryveyaka,anudisha,anutthara aeroplanes(vimanas) are in ’kalpatheetha’ division.here no diferentiation of  inferior and superior like servent  and king .!those who are here are ‘ahamindras’!

 

1)    In gryveyaka one above other1) adhograveyaka 2)madhya gryveyaka 3)urdhva gryveyaka three lines are there.in each line three three vimanas. Totally  nine vimanas are there.

2)    Anudisha:in this  one  in each directionin eight directions eight vimanasand in middleone vimana will be there. This is called’navanudisha’.

3)    Anutthara:to this to each direction 1) vijaya 2)vyjayantha 3) jayantha 4) aparajita  four vimanas are there.in between these 5) ‘sarvartha siddhi’ vimana is also there.this is called ‘panchanutthara ‘.in anutthara  as there is no prakeernaka  division  vijayadi,shrenibaddha  vimanas are there.

 

Gods:among gods1) bhavana vasi2) vymthara vasi 3)jyothishya  and 4)vimanavasi  four cods are there.these are called ‘chathurniyamara’.in these four kids of gods(except) kalpatheethas 1) indra 2)samanika 3)sayasthrimsha 4)4) parishada 5)athma rakshaka 7) lokapala 8)anika 9)prakeernaka,9) abhiyogya   1o) kilbishika  ten kinds are there.

In vyanthara and jyothishkas   thrayastrimsha  and lokapalakas are not there.Indra has animadi astsaishvarya.he is  chief of gods. though less in wealth’samanika gods’ are worshipable even by indra.as minister and purohith to indraliked by thirty threegods are called ‘thrayastrimsha’.as friend of devendra in all god functions(baahya,abhyanthara,middle functions(assemblies)) who  put forth(present) are called ‘paarisadas’.in indras function  9meeting) as weapon wearers behind indrathose who watch(guard)  are called ‘athma rakshakas’.those who protect fort are called ‘lokapalas’’.seven kinds of  army of indra soldiers are called’anikas’they these soldiers,horse,chariot,eleohant, tese forms also,along with music,instruments,dance as helpful to these as per circumstances  wear dresses also!those who are citizens are called prakeernakass’. Depending on cicumstamces. 

 

Longevity of gods:than huans  longevity is  much more to gods.therefore they are called ‘amaras’(deathless).in kalpas going from below upwards   longevity increases.for first two kalpaja persons(sowdharma eshana) have two ocean like (sagaropama)  longrvity,to last two  other kalpa residents(arana,achyutha) twenty two ocean like  longevity is there.from grybeyaka vimanaincreasing by one one oceanin five anuttharasthirty three ocean like high longevity is there.

 

For demon gods one ocean like longevity will be there.to bhavana gods also ,to vyathymtharas  ,for jyothishkas one palya supreme longevity is there.

 

birth and death of gods:gods and narakies are not uterus born.because in heaven and hell no pregnancy(fetrilisation).gods take birth in ‘upapada’ shayye’.soon after nirth  in antarmuhurtha gods and and narakies  get  upapada birth.the spirit which has accumulated  punya(good fruit) when goes devagathi  in god world resembling evening time golden lightfrom divyathalpa( divine bed)  membrane(layer) emiting tender sun  morning appears.on appearing  gods get youth;as divine  statue decorated by natural clothes,wearing  divine garlands as though awakened from sleep  gods take birth!

 

In human body  unit of  upadana only(material  cause) body of gods also  formed.though gods have deathno diseases like humans.to them these come is also like  birth only peculearly.longevity closes at the end of six months.then the worn  garland  (while taking birth  along with god clothe,ornaments,flower garlands  would have come.)little by little drying up  gives indication of death.seing this  few  gods  get troubled and shake(thattharisu).then samaniks gods  console them to dieing gods.when death comes man and god are same.

Same pain same consolation!wwhen gods die like clouds of sharath (rainy)season they disappear(invisible).death of neelanjana pampa great poet(mahakavi)  has described  heart touching way can be seen.

 

Eight wealths of gods,kamadhenu (cow fulfiling desires),kalpavruksha(desire flfiling tree) vykriyika body also at end divine  doctors can’t pull out from jaws of death!gods,narakies,charama dehies(………………?)should die after completion of  longevity,to them no  untimely death,

Sddhaworld(eshath pragbhaara):crssing panchanutthara vimanas  if mooved  twelve yojanas above siddhashile (siddha world)is reached.it has also names called’eshath pragbhaara’or ‘eighth land’ .this is eight yojanas  thickhaving vastness(area) of forty five lakhs yojanas. It   appears round white umbrella .Avove this  ghanodadhi   ghanavatha and thanuvatha  named non mooving airs are there.(sthira vatha valaya,firm air zone).beyond this only except  nothing other is there.

 

in midst of third thanuvatha valaya siddhaparamestieswho ate anantha siri lolas(infinet rich players). They will be shining ineitherkayothsarga or in palyankasana.their bodies  begin from three and half mola( a kind of measure)sreach upto five hundred twenty five bows height.at the time of liberation  body size  reducing   a little  will have body size of  siddha world.though there is diference in body size few people stand,few in palyankasana  in kneeling posture.heads of siddhas will be  at same height.as they are of chinmaya(consciousful bodied) bodiedthough mixed with each one onethey will not have rush or trouble. Knowledge(consciousness) itself is siddha’s body!sense organsless   knowledge(consciousness) body  are fully  (completely,totaltl) happy!Siddhas are shapeful(sakara,formful),invisioble to senses   and formless

(nirakara).

 

To jiva(life)  troubling in family as ‘astakarmas’ cover that life  has it’s natural treasure of anantha siri.to family holder life with the help of senses only some knowledge and happiness are got.for siddhas there will be  no trouble of karmas not even a little.therefore their spiritual(consciousness)  power  can grasp three worlds  and  three  tenses(past present future) at a time simultaneously.therefore such people are called  ‘sarvajnas’  or  ‘sarvadarshies’.this itself is  natural form of body!to siddhas  there are no joys and sorrows  got by shubha (good) and ashubha(bad,nongood);no karmas.when like this where is talk of their eating!therefore infinet joy which they enjoy  is called’nirupadhika’(vishaya nirapeksha) svarupa anubhava ananda.’(adjunctless  self form  experience joy).though  siddha’s have nobody(no physical body) like  family lives(family holders,worldly people) they have jiva nature(bhavaprana) will be there.

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Note :kayothsarga=standing,paryankasana or palyasana=sukhasana(easy comfortable posture)

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Thriloka jivavandana charithe:existing  in three worlds  un artificial (natural)chythyaayas are  described in this.as they are easily sung jina devotees  every day in evening time sing this and get excited. Boring astronomy and geology ,with association of music by rasa smear of devotion also ‘thriloka  jina vandana charithe’if told ocean of rasa  it will nor be exageration.for devotionless people there may not be rasa joy here also!  

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1)kailasa mountain:near ganga bank  in south indiathere is kailasa mountaion.

2)champapura:n nathanagari of bihar adjacent to  bagalapura,channels are diged to ganga river.they are of ancient time.among them one is called by name ‘champa’a ton near champa channel is called ‘champanagara’.here vasupujya thirthankaras panche kalyanas are also carried out.

 

Urdayantha:this is three miles away from junagada.nemi thirthankara  attained nirvana here only.it is also called by name girinar.dharasena protection of jainagama  pushpadantha and bhuthabali making them to sitgave training  in this mountain’s chandraguhe(moon cave) only.

 

4)    Sammeda mountain:if travelled by train from  allahabad  to calcuttha ‘goma’ station s got.by getting down there in local train if mooved to ‘parshvanatha’nilmane(station) sammeda mountain is twelve miles.this mountain is also called by name ‘parshvanatha’hill.in this mountaib twenty thirthankaras  have sttained nirvana(liberation).among them last one is ‘parshvanatha’.

 

5)pavapura:in train going from bagalapura to gayageting down at ‘navadaha’,if we moov  tirteen milespavapuri is  reached.this is nirvana kshethra of  mahavira..

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50)important ares  and mountains of  thriloka in this charithe have  been summarised.’samavasarana’ ‘siddha kshethra ‘ are arranged  beautyfylly.pancha paramesties pancha kalyanas  and thirthakshethras(piligrimages)  have been  blended.run of poetic song,cool air becoming  theeta(rub?)   devotees group  tirelessly  rounding three worlds psychologically,get satisfied.!to every step jinalayas(jaina temples) ,vision of three jina images,doing darshan will get blessed.

In boundary of scriptures  making all these to be grasped , givig ear to that also  tasteless  descriptions,one will get bored.such  in sangathya like  marala gama,keeping step puta puta ,sounding leg chain,like fascinating movement  childas it is allowd to float in sangathya  to singers there will be no boredom!

 

Thriloka shathaka of rathnakara:

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 Without performing  weapon worship ( guddali……….?) rathnakara started ‘bharathesha vybhava ‘ like modern novelhoisting free talent flaghas made scholars to wonder.great poet(mahakavi) rathnakara is only one who has  broken  tradition  coming from  ancient times !

 

Rathnakara has anounced speciality of his plan in advance.other poets have  composed  world division  onlt being tied by tradition.probably  this situationHas become compulsory  winter bath(compulsory bath of magha month).by breaking tradition nothing loss has occurred.unnecessary time delay is avoided.By that to poet also difficulty is avoided.more than that to readers also boredom is avoided.

 

Rathnakara in thriloka shathaka  has given outline of three worlds. In beginning only.for that sake in bharathesha vybhavathis area(regional) division has left out it seems.styleless( fanciless)  walk of thriloka shathaka  beautyless  

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Page ,22,23, are absent in the text book

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‘ho ho  ….sothasaham nandishvarakhyam’ though  rathnakara has started like this he has not been able to describe what is in his mind.his imagination is still not clear.’ruchika mountaion’and ‘kundala mountains indicating in one poemhas attracted our attention.’

 

Though all water of kubhogabhumi is  sugar cane juice only  though all soil balls(pieces) are laddu(name of sweet),those who are born in such areas are ugly people.?more sorrowful than hell   is also present.that is nigoda area.

 

In description of nigoda  tumult(thalamala)  is some what  peeped it can be told.

Afterwards poet has passed  his mind towards ‘siddha world.’

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Page 225):no matter only  stanzas

Page no 26)

In ‘bharathesha vybhava’  siddha form  rathnakara’s in talent punja(group)…………..?) hiden  has become one with embrace of imagination and to dull  descriptin reader’s circle  itself should compare and see.

 

Important points:though thriloka shathaka is  added with  very gross  description without leaving important points has indicated according to situation.

 

One atom slowly entering from one sky region to another sky recion is called ‘samaya’.(time,duration).in time ‘samaya’ is of very  small  quantity.along with it is indivisible.by uncountable  samayas(jaghanyea  yuktha  uncountable  quantity)  becomes one ‘avali’.by  many avalies one expiration (ucchvaisa,prana) ucchvasa (expiration) is  2880|3773 th second.therefore samaya and avalies are time division of  second’s  very delicate  time divisions..to two thousand  haradaaries one  ‘mahayojana’.to four haradaries  one general yojana.keeping in mind mahayojaa  only ‘ropes(rajju)’ vast  area   we should imagine.thiryak world’s   area is equal to one rope(rajju).even shying  quick moovment  can be seen in jaina siddhantha.over cold and over heat of  of hell  rathnakara has indicated.

 

Where there is over heat even if iron is kept in hell  will melt away like  candle.in cool area  if melted  iron is  passed  it becomes solid!

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Page no 27)

In jaina literature  enough if we talk  we can see ‘saagaropama’ time.such sagaropama means such form of  kaala pramana,(time quantity)  in thriloka shathaka have given with calculations.in this’ bhoga bhumi’(land of enjoyment) by fur (thuppata)of sheep water of salt sea   if emptied for six times to keeo on earth that nuch of  time it needs that is called sagaropama(ocean like) time.suh sagaropama means  no cuont to  people in hell and heaven!in first hell one sagaropama  time, second hell people three  saagaropama time.(duration).

Third hell dwellers  seven ocean times(durations),fourth  hell residents ten saagaropama time,fifth hell dwellers  seventeen soceans, sixth hell dwellers  twenty two oceans, seventh  hell people thirtythree ocean years,undergoing much difficuties will be suffering!

 

opposite of hell is heaven.as we go up longevity,intellect,powers, joys excetra  go on increasing.i hell as we go down suferings increase.indulging in  heavenly joy  soudharma(good dharma) and eshanakalpa, people  spend two ocean ears. Those  sanathkumara and  mahendra  kalpa born  will down in ocean of joy for  seven  ocean years. Brahma and brahmotthara  kalpa residents  till ten ocean years forgeting front and back(past and future) will enjoy in joy play.in  lanthava kapista kalpas gods for fourteen  ocean years  will be in joy.in shukra and mahashukra sixteen ocean  years  shukra dese(good stage) they will have. In shathara and sahasrara  eighteen ocean years they will be in joy.in anatha –pranatha   kalpas  twenty ocean years will live happily.in aranachyutha kalpas twenty two oceans longevity will be there.from gryveyaka vimana  again from  one one ocean years ncrease  in five anutthares  it reaches peak to thirty three ocean years there ahamingras will  will be in ‘rasa unconsciousness’ .demons for one ocean ears,,bhuvanavasies ,jyothishkas,,vyantharas  and bhogabhumi born, will live for few palya time.for videha people  one purva crore  supreme longevity is there.one purva koti means in front of 7156 ,seventeen  zeros are kept  then coming wonderful  digit9NUMBER)..  

‘NIGRODA ‘       IS MORE SORROWFUL  stage than  hell.for that sake  this region as basement to hells  is of very much low level!here only single sense  lives are present.’shandha’ ‘amdara’ ‘avasa’ ‘pulavi’ ‘murthy’ these are five kjnds of delicate lives which are of five kinds.in one skandha  there are uncountable

Loka pramana( world quantity?) andara jivies(lives) .in same way in andara  avasa,in avasa  pulavi,in pulavi  statue, joining as singlr body  in ocean of troubles  rise drown and suffer. These micro organisms in two moments  not less than eighteen  thousand  times,dieing living together shake vili vili.sufering of nigoda to tell in  total in time quantity (kaala  pramana ?)  even ocean years are very small for   measuring time there.

Three  world form and it’s secrets  are described in simple way.there is no other book which has  describes so easily is very rare in kannada.it is right even if told no.the matters coming in  this book are all  very strict siddhanthas(laws,rules),though it is accepted  that talented person putting hand to it by itself  three world form may also get rasa touch.in thriloka shathaka  here and there  thouugh poetry part  has   peeped . this writer is of poetic attitudes.it can be told by anybody .peculearity   and secrets of  of various kinds and micro factors  rathnakara  in thriloka shathaka  has brought as much as possible there by hepling kannada scholars.    

 

In descripton of  summary of scriptures bhedabheda(bheda+abheda)(diferentiation and non diferentiation) devotion he has brought.in all works of rathnakara as per situation  this chapter9prakarana) has come.to some extentdescriptin given here ,now and then coming  in bharathesha vybhava bhadabheda devotion  description  there is resemblence.s

 

While describing  bhedabheda devotion  bharathesha vybhava  and thriloka shathaka  move mutually together.moderately on both sides style of conversation  has flowd  the doctrine(siddhantha)  which would have been difficult has become beautiful and simple without becoming boredom.feel wave starting from   one heart  diverging into two(though has started from  one heart  not coming out  at a time  should not be forgoten)on both sides making to appear only one openion  is anouncing that author of these two works  one only through’bhedabheda devotion’.

 

Regarding meditation  to rathnakara from beginning  there was curiosity  and taste was there.regarding meditation art  it is difficult to get another poet who has described like rathnakara.now and then  rathnakara might have practiced  hamsa atr from studenthood only!.to mother root of jainaggama’s breath  kindness  and dakshinya(…………………..?)being rsted,,branches of courtesy  with time  dry scholarship appeared  bandalike(a kind of leaf) troubling as  kuttha(…….?).rathnakara turning against towards kindless  scholarship  made to grow improvement attitude(sudharana attitude) enlighted  revolutionist!

 

In this way in thriloka shathaka  rathnakara has condemned  dhurthas.(wicked people).in rathnakara shathaka  regarding educated dhurthas mercilessly “shasthrikanala” he has anounced.

 

Scholarship ,keeping on  peeta(holy chair,throne) of  practice(acharane) when crown of courtesy is worn becomes holy. When it shines as mere  dry schoarship Wearing skin of donkey and tiger seems as though mooving.if mouth is opened it’s colour will open!

 

In both these stanzas  what a resemblence see.to kannada poets no consolation unless one or two sanskrit  poems are writen.even in bharathesha vybhava  rathnakara  has writen eight sanskrit stanzas (shlokas)  by name ‘vandanastakam’.in rathnakara shathaka  also  one sankrit vruttha  has come you can see. In thriloka shathaka there are two two samskrutha kandas are there.

 

 

In this way  rathnakara,to niranjana siddha  in sanskrit also has shown his devotion.”pampa mahakavi(great poet) did  show vruttha malika of samskrutha  to adideva”.to get liked by scholars  two language experts  kannada poets in their works  want to include  at least one or two samskrutha poems in their works.

 

one great person  has tried to guess  that none of three shathakas are of rathnakara of bharathesha vybhava.but this great person  while telling something  taking this talk  at end leaving like that only,has mooved forwar!one who took this matter without giving at least one or two reasons why to discuss this matter.’why to discus I won’t understand!’ auther of shathakathraya is not diferent and author of bharathesha vybhava is not diferent. Rathnakararya after coming to maturity  has become rathnakara siddha. According   to inernal expansion of  one person only these names have come.rathnakararya himself after  siddha in both poetry and yoga  after coming to fame became rathnakara siddha.

 

Thriloka shathaka is first child of  rathnakara:

“venupurankadol  srujisidam rathnakararyam vijekshana thathparyamidi  thrilokashathakam” like this poet has told by himself.here rathnakara has not yet become yogi.in studentship only he might have writen  this work.though here style is simple  it is not considerably attractive.here rathnakara  In poetry field  has not become matured mind.

 

Rathnakara has writen this for dullards.(fools)!when rathnakara calls readers  circle as  dullards (dull intellects) it seems   writen it before getting worldly experience  at beginning of graduation  stage only.in remaining works this poet  even by mistake  has never called readers circle  as dullards  unnessarily by  bitter filled talks.  .

 

While writing bharathesha vybhava rathnakaras’ heart was  matured. To his eye listener’s group(readers group) found grand. But on opening  thriloka  shathaka  we have to become dullards! After touching bharathesha vybhava  we become grand! Tongue  can tell family(caste) also,in same way can tell  age also.

 

rathnakara of bharathesha vybhava  is ‘siddha’ in yoga also.in same way in poetry also he has become siddha!   Rathnakara of thriloka shathaka  thinkink himself as arya(high,worshipable) has decided people as dullards.this rathnakararya has not yet become siddha. Not siddha in anything.but he  is filled up with desire  of  becoming famous. In furnace of joy and sorrow his   spirit should  get purified. His samskara(predisposition) should  get improved.(sophisticated).later  his speech   melodius sound of divine tone  may follow.(imitate).then ‘jina vani’itself   may come down into poet’s vani(speech)!   

 

Thriloka shathaka of rathnakara  is tasteless among all his works.while describing siddhantha (doctrine) tasteless to become tasteless is inevitable. this is  openion of few scholars.this  talk to rathnakara   siddha of bharathesha vybhava will not at all appley.rathnakara siddha what ever he tells is poetic only.how ever much difficult may be  problem  without leaving to dejection(seperation,virasa) bharathesha of rathnakara  solves  joyfully(simply).what ever may be situation  tastefully(rasavatthagi) beautifully  filling style and fancy (bedagu,binnana,charm……?)    

Incomparable  skillful  artist!”whether siddhantha(doctrine) or  adhyathma(philosophy) when touches hand of rathnakara  rising chair(peeta,throne) of talent  wearing crown of imagination will shine!”

Though this statement is regarding  bharathesha vybhava  to some extent applies   to rathnakara shathaka also .rathnakara shathaka though matured  attracting mind(capturing) here and there  to tasteful(rasamaya) shlokas(poems)  there is no deficiency.once if read with interest  though if wanted to forget  it is not possible as they will capture our mind.like bharathesha vybhava  even if no contineous rasa flood is  there some one never before(apurva)  power is there in it.

 End of rathnakara shathaka  is filled  and spilling with devotion rasa.aparajitha shathaka  shines completely as poetry.hough searched   keeping eye in eye from beginning to end it is difficult to get  brightless shloka(poem,stanza). But in thriloka shathaka  are there one or two  kandas(stanzas) which plat readers heart and  capturing  mind ?

 

Like a dream found by dumb   hamsa thathva  rathnakara mahakavi (great poet) as rasa art  to  enthusiasm  celebration of bharathesha vybhava  describing ,in thri lokashathaka  why he has become dull?thriloka form  is it not possible to do rasa matter(rasa vasthu)?to talented who can describe what is deficient in thriloka?to this matter(topic,thriloka form) talent siddha rasa  keeping clean  with hand of imagination  universal poet who can correct  has not yet born.surely such great spirit (chethana) is to come.only for scripture sake(name sake)  reporting thriloka as report  many great poets have  washed their hand!(completed).

 

In bharathesha vybhava music mood (lahari)  getting shape  making sound  has flowd.arious postures of  of dance  this word sculpturist(carver)against rasa yoga stick getting mad  getting body  has shined!”.presenting himself with all  controlling everybody  as husband (lord)of ninety six thousand  suvasinies

(lasses) shining love play  event(rasaleela prasanga……?)  when horn appears to  poet’s imagination what wonders may happen  is lively witness”.

Even brahma art  also  loveless (veetharaga)  rasika(interested) in front of rathnakara  without talking again geting down as rasa art  where ever called coming  in five successes (pancha vijaya)  spilling flash(lightning)  has enjoyed. To this poet who has brought  hamsa kale(swan art)  to poetic base(earth) to this poet  bhagiratha can thriloka  not become rasa material?to this various  questions  only obe answer is  while thriloka shathaka rathnakara was  still not a master (siddha)  in poetry. In yoga he was not  matured.

 

 In case if  rathnakara after becoming ‘siddha’  were to take  up  thriloka shathaka  like sufering of hell becoming as though  heart crying(tear drops) geting formed  in eyes of readers  making tears to flow ,he would not have allowd various kalpavrikshas  kamadhenus  of  heaven and   chinthamanies this poet brahma bringing   would have shown in  kannada divine garden(nandanavana).at least un artificial  jina temples  he would not have left  without carving poetry temple  as though tieing to eye  without completion.siddha svarupa ,brahma art  shield  making to wear and  ,dance  if he were rathnakara yogi!  In bharathesha  vybhava as siddha  leaving three bodies  after becoming formless(nirakara) also, being caught by net of  poetic time (kavisamaya?) of rathnakara  inevitably becoming  decoratio siddha(shrungara siddha) has to play with liberation lass..! in this never before situation   drawing colourful figures  has created  siddha world of kannada poetry!

 

 Rathnakararya   of thriloka shathaka being not able to wait  till  he became siddha  had attracted his attension  it became so much tasteless(rasaless). Other wise thriloka shathaka would have been   become one never before (apurva) work! Some how  rathnakara’s talent vision  before blosoming only ,before  maturity  imagination     this thriloka shathaka took birth. Rathnakara’s poet’s  kalpa tree ‘s first batch  immature nut (heechu nut) this thriloka shathaka!

 

 in talent flower  chariot of rathnakara  brightfully shining never before(apurva)  thathva tathna (principle rathna) is  bhedavijnana (science of differentiation)  only!this talent  chariot if niranjaba siddha draws from front chidambara siddha pushes fron behind ; aparajitha sri mandara  blesses. Rathnakara’s  poetry chariot  if it goes means  to sow bhedavijnana only. Niranjana siddhas  excetra  now and then  rahnakara may forget also.

 

But can’t forget bhedavijnana surely.to thribhuvana chudanani tilaka   called bharathesha vybhava bhedavijnana itself as base  that great poetry  temple  has stood! The same bhedavijnana  gradually  spreading to rathnakara shathaka  later has spread to  aparajitheshvaea shathaka  als  has covered without leaving.but no sign of bedhavijnana  is not seen.in description of  summary(thathparya)  there was chance for bringing  this matter (of bhedavijnana) . but this never before thathva rathna before emiting grace vision on rathnakara  thrilokashathaka had  took birth.therefore  joy of embrace of bhedavijnana  we are not able to taste. Among first born first child  of  works of rathnakara  available to us   is this rathnakara shathaka.

 

Rathnakara’s works and time:

“….even ib devachandra’s story  as his bharathesha vybhava was not done  prabhavana rathnara getting angry  giving up jina dharma  for some time  becoming veerashaiva  later returned to jaina dharma.after returning to jaina dharma  composed those three shathakas  by himself it is clear. As told there    among those three  last one thrilokashathaka  was composed in 1557-58  previously only  he might have writen bharathesha vybhava is confirmd. For that reason   in rule of immadi veerabhyravarasa’s  rule  who gave award  as’ shrungara kavi’(AD 1490-1535)in 1530-1535 AD   bharathesha vybhava ,approximately , within from 1550- 1560ad  wrote all  those three shathakas  approximately might have died in 1560-1560 ad . it has been told by  national poet  sri govinda pai. Has given outline of  horosciope of rathnakara. Devachandra in his  rajavali story  accepting literally  govinda pai adjusting to it  has done research.

 

Seen  In works of rathnakara  talent  ganga  flood,imagination wave ,or cultural  and artistic expansion   noting these  this gentleman  has not done  research.rathnakara’s  mental and adhyathmic(philosophical) growth  can be identified  in his works  even today also.in this direction if we do research  thriloka shathaka  will become first child. Along with remaining works period also  approximately found out.

 

“srimaddevendra keerthi  yogishwara  padambhoja bhrungayamana  shrungara  poet hamsaraja  virachithamappa  (composed) thriloka shathaka samaptham” comes in prose shathakathraya  at  end of each  shathka.at the time of composing thrilokashathaka  rathnakara shrungara poet (decoration poet) had he decome hamsa raja? HE MIGHT HAVE BEEN  STUDENT(DESCIPLE) OF  DEVENDRA KEERTHI.RATHNAKARASIDDHA   of bharathesha vybhava  was desciple of  charukeerthi?.after accepting devendrakeerthi  as guru  he might have composed  thriloka shathaka.to these questions we have to answer now.’srimaddevendra ….thrilokashathakam samaptham’.this sentence is not composed for sake of  thriloka shathaka only.this sentence composed for sake of  rathnakara shathaka only who  rised (voice)against,   falling  eye grace(krupakataksha………?)  of those  jumping flying coming  later  might have fallen to  has hoped to  end part of thriloka shathaka.in rathnakara shathaka  poet has called himself ‘shrungara  sri kavi hamsaraja….rathnakara’.under that shathaka he has used same words. Writer of  is only rathnakararya only  has not yet become  shrungara sri kavi  hamsaraja.in time of rathnakara or  or later  after collecting  all his shathakas in one place. The order  of joining  done on that day only  considering as  composition order   devachandra might have illused and not by  doing research. Any how he is only collecter(editor) only and not researcher. Even modern researchers  devachandra where he missed step  previously ,there only have missed step. Sri national poet govinda pai  in rathnakara’s works from one to another  duration of  in composition time  which he has indicated though can be accepted , thinking thriloka shathaka as  final work ,he has gone behind .this can’t be accepted for ever.when we moov considering   confirming thriloka shathaka as first  work of  rathnakara  remaing itself by itself  gets corrected. 

 

Rathnakara himself  has told that he wrote  thrilokashathaka  in 1557AD. After this bharathesha vybhava is writen. Between these two there may be difference of  ten-six years. In rajavali story  devachandra has romantically described  love world of  rathnakara. If this play is real  after  composition of thrilokashthaka ,at the beginning of coposition of bharathesha  vybhava  this incident  might have happened.because this incident might have  may be  instrumental (nimittha)  cause of  Taking sanyasa (saint,hermit)  of rathnakararya. After composition  of thriloka shathaka after  passing many years ,after   experiencing  hit of  life joys and sorrows of   rathnakara   getting aquainted  with adhyathmic field  might have composed bharathesha vybhavaahakavi pampa was around forty years  while he wrote adipurana. Modern great poet kuvempu  becoming scholar in kannada  being caught in influence of  sri ramakrishna paramahamsa ‘s  all religions(sarva dharma) samavaya (equal) vision  and bright  and under influence of  bright devotion becoming treasureful  for nine years hiding in lonely residence in valmika(huttha,snake house) waited till grace of  poetry lakshmi .later as a result of  rasa  penance siddhi form  sri ramayana darshana  was composed with all body beautiful.when like this while  bharathesha vybhava like  great work  to incarnate  rathnakara  how much penance he would have done?

 

 In talent nest  to poetry egg  matching wings of  imaginatio heating for ten-six years  might have waited is it not? After compleion of heat   for nine months bharathesha vybhava  shining with art grandure  incarnated. After this  unexpectedly  occuring bad incidents  getired bored  rathnakara mighthave become  veerashaiva. In few leaves of  book someshwara shathaka there is mention about it. 

 

 Rathnakara’s    personal love play and   mathanthara (shift in religion) regarding   these great incidents  research has to be carried out.afterwards  to many problems solutions can be got. In composition time of bharathesha vybhava  rathnakara’s guru  charukeerthi.  At the time of  rathnakara shathaka  telling that his guru is devendra keerthi he has aooreciated him wilfully.’sudenly  such a change  is it possible?’ some one unexpected bad incident might have  happened leading to such change.in bharathesha vybhava   only there is indication that there were people who were opposite to rathnakara. Digambara  munies only  standing against  rathnakara  had planned what to tell?exiting(  Irritating)   common people  against rathnakara   they might have done. In such abnormal (unequal)  situation  in mind of rathnakara  getting disturbed might have produced tumult(thalamala)(disturbed)  in mind  control(samyama).f society turns against and falls  on yathi  what is his condition. When he was baking ang boiling inside  i only  veerashaiva dharma might have might have welcomed him. Troubling  mahakavi(great poet) like  like rathnakara  bhavasena muni heritage  jaina culture   put sword to mother root   unduruli  bhattaraka like rathnakara also  geting tired  as veerashaiva  might have concealed his head(himself).

 

Rathnakara  after becoming veerashaiva how did he live  we don’t know. He continued poetic work there also  as told in rajavali story. Rathnakara is not merely a poet. When in jina dharma  he was hamsa expriencer. When  unequal(vishama)  condition   he shifted in relirion(mathanthara)   we should imagine   mental disturbance in him.without  ending in  shift of religion(mathanthara)  only  might have done him yogabhrasta   also. Onca again accepting jina dharma ,to live  as a practitioner(achiever,saadhaka) strugged picture  we can see in rathnakara shathaka.  

 

Rathnakara has  described his fickle mindedness for a house holder  gets sexual intoxication (unmada,excitement) there is provision  for becoming cosoled. But  saint’s condition  neither on that side nor on this side .he has to become  double corrupted(ubhayabhrasta).where rathnakara who was ruling control(samyama)  empire? Where fickle minded rathnakara of  rathnakara shathaka? At the time of  composition of bharathesha vybhava  rathnakara was ‘uddistavirathashravaka’.being wondered by  for his achievement(practice) on    those day’s people  called him ‘siddha’.respected him as ‘annagalu’(brothers). Even digambara munies were jealousy of  bright practice (achievement)of  rathnakara..in poetry and yoga  outstanding  power  he had  rathnakara himself has told.

 

Such control minded  great power  where  did it go? What happened to previous  logicnow?  .this question is natural.  Some how due to mental   bad accident rathnakara might have become  might have become yogabhrasta we can guess?  Yoga secret   knowing man  like me  such a fall happened means  it is not a wonder. In past yogabhrasta muni’s  descriptions are there in  jaina epiccs  are also seen.digambara maha muni magha becoming yogabhrasta  going out of way ,after long time getting jnanodaya(rise of knowledge) again getting deeksha  again  doing practice(saadhne,achievement)  attained athmonnathi(self development)..

 

By jaina  yoga vijnana also  fall like this can be confirmed rising ladder of   gunasthana  and going  where there is steep (slope) practioner  practice without  going forward  will have to come back. Once in a way yogi  may slip leg  falling to land possibilities are also there.describing yoga stages of ‘shatchakras’ great penanciers  sri ramakrishna  paramahamsa ,rising from anus(guda)  rising above  

Gone up to throat (kanta)  chethana(spirit)  again falling  to earth  forgeting his goal  possibility is also  there. When all these are considered  in rathnakara shathaka  being upset by  fickleness of mind  when remembers rathnakara yogi ,in some poisonous moment  karma exceeding  making him yogabhrasta , might have done.there is provision  for guessing. Likea ship drowning lakhs  lord (lakears)sudenly becoming beggar  again  strugling for recovery  rethnnakara also might have suffered.

 

Many people might have made fun of  rathnakara  by seing his fall.at such time  showing grace vision  upon him,who lifted holding his hand with sympathy  is devendra keerthi.for that sake only  rathnakara has appreciated him as sadguru equal to jinendra.

 When fallen to ground giving consolation  and boldness to rathnakara,again giving deeksha(initiation,consecration) showing path of saadhana(practice  or achievement) might have shhown again.rathnakara as firm minded trying to follow strict  control  for achathuryas(non cleverness) whch happened previously has repented for himself in rathnakara shathaka.

 

Rathnakara is revolutionary by nature.have  mental attitude of reforms,to jaina darshana(vision)  who strugled to keep  acceptance (oppavidalu………..?) to courtesy(oudarya).at least for some time   for living in veerashaiva religion  in these shathakas  there is influence of veerashaiva relegion. as witness.”aavanumakke nimmadigalam nenevathane nanna bandhunanna mecchina devana necchidatha nenaganyane pela aparajithesvara!.these   words  are very near to samavasarana ‘s courtesy.  S.but gradually in jaina  caste also  caste pride entering  buding out high and low ,due to growth of contracted mental attitude  jina religion  got divided which is main reason.kindness  of mahaveera  rathnakara   to find it had to enter  anubhava  mantapa.later he boldly anounced divine tone summary  ‘aavanumakke  nimmadigalam nenevathane  anna bandhu’in kannada land.

 

At the end of life rathnakara might have  become  digambara yathi.there is such indication in aparajitha shathaka.

 

Rathnakara getting digambara deeksha while practicing strich practice  according to his enthusiasm  even his mind also not getting enthusiasm,when showd laziness  has revealed his problems.in shathakas  on seing rathnakara  teaching intensive  dejection(vairagya) he might have been sadhuparamesti ,to tell there is chance.in bharathesha vaibhava  rathnakara has  taught  raga rasika(love interested) life .in rathnakara shathaka  he hsas put strong control  over vrathas and rules of  house holders.aparajitha shathaka  is meant for explaining muni dharma(religion).to write such anagara   shathaka  rathnakara also  from rising above from uddista virathavasthe(persistant vairagya state…?)sadhuparamesti’s  28  basic chareccters  he might be following it seems.

 

 Goal of saadhuparamesti and wonder of hamsakala  rathnakara  has  spread here. His self experiences only  mystic(anubhaavi) rathnakara  through out  aparajitha shathaka  has drawn figure artistically .this is not an exageration. At the time of composition of  equal to talent of  rathnakara  in him there was prestige also.

 

He has made  fine  fun  of those  who are opposite to him.apart from that he has blamed also.digambara yathies  he has no hesitation in blaming as  bhavasena munies Loudly.therefore in in rathnakara of bharathesha vybhava  great poet  there was no deficeincy than dignity.with plan instead of making love of digambara munies ,bringing  love of mind  turning against  bringing   non existing  struggle(rampa,trouble,problem)! talkative  rathnakara  when his  hot blood o boiled   spoke this.

 

At the time of composition of rathnakara  shathaka  this great poet was social reformer.with athiests ,with ashadabhuthies ,with educated dress wearers  was to manage. According to situation  sathvika(good) anger  he spilled out we can see  in this book.on seing educated  wickeds “shastram shastrame shasti shastikanala…” in this way he has made fun. Standing in front of religiously blind  kings “by whom this rajya lakshmi is made of?.....”like this he has hit.”why human creatures  are egoful?....”like this  giddiful king  seing he has got bored.”padeyolpalli  ballidanadodaa padeyanem paparium  gelvane?”……  

(……………………………………………………………………………………………?)

Like this becoming negligent in front of  kings who have astaisvarya(eight wealths)

And walked.”naasthi naasthi  guru daivakkoldu …………matthe baridai rathnakaradhishvara!” like this he has told his final decision.  in summary  sathvika (good) anger  has brightened  which can be seen  through out rathnakara shathaka.

 

At the time of composition of aparajitha shathaka  rathnakara was digambara  yathi. After reforming world as much as possible  remaining longevity  he has kept  reserve  for his own reform.leaving company of others  reducing speech as much as possible most probably becomes introvert.though seing low people  here and there he does not burn as before  now rathnakara won’t rise up  with anger.

 

High ideal of jaina dharma he has found himself.each jive(life) is really samyakthva head; but when falls into other pudgalas friendship it loosing it’s originalitystarts mad dancing. At such time  sympathy should be shown  on it  rathnakara yogi has told in  aparajitha  shathaka.summary of jina vani(words) is  solidifed in these words .

 

jiva crore only  rathnakara has seen as mother’s gut. Realising limits of human  with kindful heart im faith and sympathy sufers.always swinging In himself  at the time of composition of aparajitha shathaka  rathnakara  jogi  has become partner in elixer(amrutha)!in ingadalalli(milk ocean?…….?) of hamsa experiece  he has drowned!at this time what cevr talked became  liberation path.where he resided  that place  became holy piligrimage!

 

Now available works of rathnakara include  first of allis thrilokashathaka,last one is  aparajitha shathaka.devachandra has told that he has writen  about two thousand adhyathma geethas(songs).these rarthnakara might have writen at  end part of life we can guess..

 

Thriloka shathaka rathnakara  has writen  in  1557 AD.suppose if he is youth of twenty five at this time  he might have writen bharathesha vybhava  at the age of thirty five or afterwards.sbharathesha vybhava to become popular might have taken  at least two or three years.later there may be  bycot(bahishkara,disfellowship) upon him.  At the age of forty  rathnakara converting into veerashaiva ,remaining for  one or two years  there again might have returned to jina dharma(religion). Supose rathnakara was born in 1532AD

After 1567AD  might have composed bharathesha vybhava.by 1572AD  he might have become veerashaiva.at  his age of forty five  might have composed  rathnakara shathaka.at the age of  fifty years  might have writen aparajitha shathaka.it  means around 1582AD this book might have found light(published).afterwards  composing adhyathma geethas  seing end of sixteenth century might have inagurated  seventeenth century also.seen in works of rathnakara only  his mental and adhyathic  growth ,development  of talent also I  have built  on base of  guessing. I heartily welcome those who do research more accurately  than this .i will correct defects in building of imagination.

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,,,,,,,,,,,,,,,,,,,,,,,,,,,,,thriloka shatha composed by rathnakara  great and yogi  completed,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,