Some Notes on Jinacaritam

Very little is known for sure about the author of the Jinacaritaü. In the colophon he mentions that he composed the work while residing in a residence (pariveõa) built by King Vijayabàhu, and that the residence bears the name of the King:

Vijayabàhunà Raÿÿà sakanàmena kàrite ... pariveõavare ... in a noble residence ... which was made by King Vijayabàhu ... and which bears his own name.

There were a number of Kings who bore that name, and it could refer to any one of them. The first King of that name, for instance, who had a long reign from 1059-1114 is recorded as having built many vihàras (Mhv. 60.58-63), and also to have greatly encouraged poets (Mhv. 60.75-76).

Duroiselle (Jinacarita, p.iii) identified the King as the second of that name, who reigned for one year in A.D. 1186, but the inference, which is based solely on the prosperity that prevailed at that time, seems a little tenuous.

Malalasekera in The Pali Literature of Ceylon identifies him as the third King who reigned from 1235-1366; ⁰¹ he further states that the pariveõa ßprobably refers to the vihàra built by Vijaya-Bàhu III, who ruled at Dambadeniyaû, and refers to Mhv. 81.58, in support. The verse there reads: Atha Vattalagàmasmiü bhikkhånaü sakanàmato Ràjà Vijayabàhavhaü vihàraü sàdhu kàrayã, then in Vattalagàma ⁰², the King called Vijayabàhu (III), had a monastery built for the bhikkhus, and in his own name.

If we compare that with the colophon above the similarity is striking, and it is easy to see how Malalasekera came to his conclusion. But although it could have been this vihàra that Medhaïkara was referring to, it is by no means certain. Even if he did live in a monastery built by that King, however, that cannot be taken as an indication that he lived during that King's time, as there is nothing in the colophon to suggest contemporaneity of our Author and the King.

In the same place Malalasekera identifies our author with the author of Payogasiddhi, and refers to him as Vanaratana Medhaïkara, but on what grounds this identification has been made has not been clarified. ⁰³ The Medhaïkara who wrote the Payogasiddhi, wrote an elaberate colophon to the work in which he calls himself Vanaratana Medhaïkara, he also identified his teachers, and the King who supports him, ⁰⁴ but he doesn't say he wrote the Jinacarita.

Again, the Jinacarita does not mention Payogasiddhi, and nor does the author identify himself as Vanaratana. Given that the name Medhaïkara is common, it seems a bit presumptious to say the authors are the same, and all theories based on this assumption simply fall to the ground for lack of evidence to support them. It seems safer therefore here to leave speculation aside, and admit that we remain very much in the dark in regard to our Author's history.

The chief source for the material of the poem is the Jàtakanidàna (Jà Nid). ⁰⁵ The correspondence is so close that it sometimes appears to be only a versification of the prose original. In illustration of this, we can compare the following: ⁰⁶

Jà Nid: kappasatasahassàdhikànaü catunnaü asaïkhyeyyànaü matthake amaravatã nàma nagaraü ahosi.
Jinacaritaü vv. 8 & 10: kappasatasahassassa catunnaÿ-càpi matthake asaïkheyyànaü ... amarasaïkhàtaü puraü ahosi.

Jà Nid: atha ekaccànaü devatànaü ßajjàpi nåna siddhatthassa kattabbakiccaü atthi, pallaïkasmiÿhi àlayaü na vijahatãû ti...
Jinacaritaü vv. 274 & 275: ekaccadevatànàsi: ßajjàpi nåna dhãrassa siddhatthassa yasassino atthi kattabbakiccaü hi tasmà àsanam-àlayaü na jahàsãû ti...

Jà Nid: Sàkiyà nàma mànajàtikà mànatthaddhà, te ßsiddhatthakumàro amhehi daharataro, amhàkaü kaniññho, bhàgineyyo, putto, nattà" ti cintetvà, daharadahare ràjakumàre àhaüsu ßtumhe vandatha, mayaü tumhàkaü piññhito nisãdissàmà" ti.
Jinacaritaü vv. 364 - 366: saÿjàtamànasatthaddha-Sàkiyà: ßamhàkam-esa siddhattho putto natto tiû àdinà cintayitvàna, dahare dahare ràjakumàre idam-abravuü: ßtumhe vandatha siddhatthaü na vandàma mayanû-ti taü idaü vatvà, nisãdiüsu.

The text of Jinacarita shows the influence of both Sanskrit Alaïkàraèàstra (Poetics) and Chandaþèàstra (Metrics), being very developed in both of these arts. At only 472 verses, the shortness of the work prevents it from being classed as a Mahà Kàvya, but it nevertheless has many of the charactersitics of that literature. As required, it begins with a benediction, is built around a romantic story, and has a wise and noble hero. It includes extended descriptions of towns, lakes, mountains, the seasons, the moon and the sun, and also has sports, love-scenes, feasts, battles and so on. ⁰⁷

The verses are decorated with numerous alaïkàras, including metaphors, similies, double-meanings, and so on. These also often cause considerable problems for a would-be translator, as these figures, which sound quite acceptable in Sanskrit and Pàëi, are not always so obvious once put into English.

Very often we come across metaphor (råpaka), as in: Sambuddhàravindavadano, the lotus-faced Sambuddha (300); Dhammabhàkaraü, the Dhamma-sun (2); Saïghacandaü, the Saïgha-moon (3), ambujabuddhiyà, lotus-intelligence (317) and so on.

Similie (upamà) is seen in many verses of the text, we can illustrate it with this beautiful image of the Buddha, v. 304:

Tatojapàlodayapabbatodito mahappabho buddhadivàkaro nabhe maõippabhàsannibhabhàsurappabho pamocayaü bhàsurabuddharaüsiyo

Translation: Then the Buddha rose from the Goat-Herder's (Tree), like the sun rising with great light into the sky over the mountain, like a shining and bright jewel-light, emitting the shining Buddha-rays.

In illustration of the double-meaning (silesa) consider the following compound: lataïganàliïgitapàdapindà (104), which may be translated as: Lordly trees were surrounded by creepers; or as: Lordly trees were surrounded by slender women. In the translation I have taken the only reasonable course open to me and translated it twice.

In order to make the translation intelligible I have sometimes found it necessary to extend it by including material that otherwise would have appeared in the notes, and broken up the flow of the narrative. So, for instance, I have quite often replaced pronouns with proper names, and placed them in brackets, e.g. v. 164:

abhinikkhamanaü tassa ÿatvà varaturaïgamo
tena sajjiyamàno so hesàravaü udãrayi

Translation: Having understood it was for (the Bodhisatta's) Great Renunciation, that noble horse, while being harnessed by (Channa), neighed excitedly.

If we replace the proper names with pronouns here we can see there is confusion as to who is doing the harnessing.

The verbal complexity of the work is very noticeable. We often see infinite verbal forms employed across many verses, before we eventually come to a finite verb, which brings the movement to a conclusion. See for instance, the run of particples from verses 330-335: So Bimbisàra-Narindo Mahesino ... suõitvà ... vibhåsito ... upagantvàna ... sobhayanto ... nisinno ... gantvà ... ànãto ... càlayanto... patigaõhiya.

As in Sanskrit verse, in many places the present participle has to be taken in a finite sense, for the sentence to make sense. ⁰⁸ I have noted the following examples: viharanto (33) vasanto (69) abhipàlayanto (86) gacchaü (141) patiññhapesà (199) gacchaü (221) pavattento (316) sammasanto (269) caïkamanto (278) pabodhayanto (279) vindaü (280) anuvilokento (415) vindanto (460).

As in Sanskrit literature there are some very long compounds in the present work, which sometimes cross the pàdayuga, and occasionally extend for the whole line, e.g. the following Upajàti verse 348:

ÛÜÛÜÐÜÛÛÐÜÛÜÛÐÐÜÜÛÜÐÜÛÛÐÜÛÜÜ
visiññhagandhàkulaphàliphulla-nànàvicittàni mahãruhàni

ÛÜÛÜÐÜÛÛÐÜÛÜÛÐÐÜÜÛÜÐÜÛÛÐÜÛÜÜ
sucittanànàmigapakkhisaïgha-saïgãyamànuttamakànanàni

We sometimes see the sandhi itself cross the pàdayuga, which is frowned upon in the prosodic literature, e.g.

ÜÛÜÜÐÛÜÜÜÐÐÛÜÛÛÐÛÜÛÜ pathyà Siloka
yàcito tena sambuddhàravindavadano jino
the last syllable of the prior line = sambuddha-aravinda- (300)

ÛÜÛÜÐÜÛÛÐÜÛÜÜÐÐÛÜÛÜÐÜÛÛÐÜÛÜÜ Upajàti
sugandha-indãvarakallahàràravindarattambujabhåsitàni
the last syllable of the prior line = -kallahàra-aravinda- (349cd)

Something we will not normally see in Sanskrit literature is ellipsis, which is common in Pàëi, and which, despite the obvious Sanskrit influences, is also found in this poem: see e.g. paÿca-abhiÿÿà- (33c), sa-inda- (242a), saddhamma-amata- (332b), sugandha-indãvara- (349c), -àkiõõa-acchodaka- (362ab), dasa-aññhamasmiü (452c), dhamma-asinà (453b).

Ven. Medhaïkara was very fond of using various names and epithets for his Hero, and they occur in nearly every other verse. Here I have collected the varieties used, and it so happens they come to nearly 100. They are listed here with the translation adopted, wherever appropriate:

Aïgãrasa Aïgãrasa
Adantadamaka Tamer of the untrained
Atula Incomparable One
Arahata Worthy One
Isi Sage
Uëàrapaÿÿà One of Extensive Wisdom
Uttama Supreme One
Guõàkara Mine of Virtue
Guõaõõava Ocean of Virtues
Guõasekhara Head of all Virtues
Cakkhumà Visionary One
Janindànam-inda Lord of the Lords of Men
Jina Victor
Jinaïkura Budding Victor (i.e. the Bodhisatta)
Jinapakkhiràjà Victorious Bird-King
Jutindhara Brilliant One
Tapodhana Great Ascetic
Tathàgata Realised One
Tibhavekanàtha Sole Protector of the Three Realms of Existence
Tibhavekanàyaka Sole Leader of the Three Realms of Existence
Tilokagaru Teacher of the Three Worlds
Tilokahitada One who Gives Benefit to the Three Worlds
Tilokamahita One Honoured by the Three Worlds
Tilokanàtha Protector of the Three Worlds
Tilokatilaka Ornament of the Three Worlds
Tilokekanetta Sole Leader of the Three Worlds
Tilokekavilocana Sole Eye of the Three Worlds
Danta Trained One
Dayàlaya One who has Pity as his Abode
Devàtideva Deva of Devas
Dipadànam-inda Lord of Men
Dipaduttama Supreme Man
Dhãmatà Devout One
Dhammaràjà King of Dhamma
Dhammissara Master of the Dhamma
Dhãra Hero
Dhitimà Firm One
Naràdhipa Ruler of Men
Naràsabha Best of Men
Narasãharàja King Lion of a Man
Narinda Lord of Men
Narissara Master of Men
Naruttama The Supreme Man
Nàtha Protector
Pabhaïkara Light-Maker
Paramamàraji Excellent Victor over Màra
Pavara Excellent One
Buddha Buddha
Bhagavà Gracious One
Bhåpàla Protector of the Earth
Bhåripaÿÿà One of Extensive Wisdom
Mahabbala One of Great Strength
Mahàdaya One of Great Pity
Mahãpati Master of the Earth
Mahàpaÿÿà Greatly Wise One
Mahàvãra Great Champion
Mahàyasa Greatly Famous One
Mahesi Great Seer
Mahiddhi Sage of Great Power
Muninda Lord of Sages
Munimegha Raincloud-Sage
Munipuïgava Noble Sage
Muniràjà King of Sages
Munisãharàjà Lion King of Sages
Munivara Noble Sage
Yasassina Famous One
Lokahita He who delights in the World's Benefit
Lokahitekanàtha Sole Protector of the World's Benefit
Lokàlokakara One who Makes Light for the World
Lokanàtha Protector of the World
Lokanàyaka Leader of the World
Lokantadassã One who Sees to the End of the World
Lokattayekasaraõa Sole Refuge of the Three Worlds
Lokavidå Knower of the Worlds
Lokekabandhu Sole Kinsman of the World
Lokekanàyaka Sole Leader of the World
Lokekaràjà Sole King of the World
Lokuttama Supreme One in the World
Vãra Champion
Varadhammaràjà Noble King of Dhamma
Vipulayasa One of Extensive Fame
Visàlapaÿÿà One of Broad Wisdom
Visuddha Pure One
Sabbaÿÿå Omniscient One
Sajjana Good Man
Sakyamuni Sakyan Sage
Sakyamunikesarã Sage-Lion of the Sakyas
Sambuddha Sambuddha
Sammà-Sambuddha Perfect Sambuddha
Santa Peaceful One
Santamàna One of Peaceful Mind
Satthà Teacher
Sivaïkara Safety-Maker
Subhaga Favoured One
Sugata Fortunate One
Hitesã Benefactor

Duroiselle in his edition of Jinacarita, published in 1906, listed many words and meanings that were not found in Childers' Pali Dictionary. It is unfortunate indeed that the Pali Text Society's Pali English Dictionary hardly rectified this situation, and there are still many words to list that are not found in that dictionary. They are mainly derived from Sanskrit words used in Classical Literature.

aïghi, m., feet.
atikomala, adj., exceedingly soft; producing affection.
atisobhati, ati + sobh + a, greatly beautifying.
anaggha, m., priceless (cf. aggha).
anokàsa, adj., full.
apahàsakara, m., mocker.
ambàsaya, m., lake, pool.
avanipa, m., lord of the earth; a king.
asàdisa, adj., incomparable; matchless (cf. sàdisa).
asitasela, m., sapphire.
indu, m., the moon.
uttuïga, adj., tall.
uparatta, adj., altogether red.
ummàraka, m., threshold (cf. ummàra).
katàvakàsa, adj. (= katokàsa), being permitted; given leave to; opportunity.
kadambaka, n., multitude; troop; herd.
kammajamàla, m., the pangs of childbirth.
kalãra, nt., the soft part above the stem of a palm tree.
kulåpaga, adj., one who frequents a family; an advisor.
kumantaõa, m., bad advice, an evil counsel.
klesa, (= kilesa) m., passion; lust; depravity; impurity; defilement.
guõàkara, m., a mine of virtue.
gopura, nt., gateway; gate tower; city gates.
jinaïkura, m., a budding victor i.e. a bodhisatta.
jhara, m., waterfall.
dànavaka, m., a divine being.
dirada, m., lit.: two-tusked; a tusker.
dãpakàla, m., day-time.
devaïgaõà, f., a deva-maiden.
devindacàpa, m., the lord of the gods bow, a rainbow.
dvàramåla, nt., door-sill.
dharàdhara, m., a mountain.
dhã, f., wisdom personified.
dhãmantu, adj., wise; devout.
naràdhipa, m., the ruler of men.
nijjhara, m. (= jhara), waterfall.
pacàra, m., proceed, appear, perform, behave.
paõya, m., a trader; wares.
padakkama, m., orderly lines.
bimbàdhara, m., a lip red like the Bimba fruit.
bhàkara, m, the sun.
bhukuñi, f., frown.
bhuvana, m. (= bhavana), worlds.
bhåpàla, m., protector of the earth; a prince.
bhåmikà, f., earth; ground; a floor; a story.
makaràkara, m., the sea; repository.
mahanãya, adj., respectable.
moëiratana, nt., bejewelled.
rativaóóhana, nt., delightful; delight-increasing.
rasàyana, m., pleasure.
làvaõõa, m., beautiful.
vanità, f., women.
vàridhàra, f., torrent; stream; shower.
vidduma, m., coral.
vuññhidhàrà, f., showers of rain.
saüvãtinàmeti, vi + ati + nam + e, spends time; waits.
saïkhaõóeti, saü + khaõó + e, break into pieces (cf. khaõóeti).
sabbhi, adj., the virtuous.
sampãta, past.p. of sampivati, soaked; stewed.
sãkara, m., mist.
sudhãsa, m., a wise man; sage.
suphulla, su + past.p. of phalati, full flowering; blossoming.
suvaÿjita, su + past.p. of aÿjeti or aÿjati, collyrium-annointed.
seõi, f., a line; row; multitude; flock.
hesàrava, m., the sound of neighing.

ànana, m., face.
àkula, adj., crowded.
àvalã, f., a multitude.
ketu, m., bright; a torch; an eminent person.
gabbha, m., a storeroom.
garu, m., parent.
jantu, m., earth creatures like worms, etc.
jala, m., tear.
pesala, adj., well-formed.
mugga, m., casket.
latà, f., a slender woman.
vadhå, f. cf. vadhukà, a woman; a bride.
valaya, nt., an enclosure.
sandhàraka, adj., bearing.
siïga, nt., a turret.