Purushartha Siddhi Upay Gatha 1

English Translation of Purushartha Siddhi Upay (Shri Amritchandracharya) Mangala Sanskrit Tika – : Muni Pranamya Sagar (Under Acharya Vidyasagar).

Ut’thānikā : With the creation of the Tattvārthasāra and the illumination of the paths of Nishchaya Moksha (the absolute path to liberation) and Vyavahāra Moksha (the practical path to liberation) through the rays of differentiated knowledge revealed in the Laghu Tattva Sphota, and the attainment of fame through writing the commentaries Tattvapradīpikā Ṭīkā on Pañcāstikāya, Tattvadīpikā Vṛtti on Pravacanasāra, and Ātmakhyāti Ṭīkā on Samayasāra, this auspicious invocation in the form of a śloka (verse) is being presented by Amṛtachandra Āchārya, preceded by the eulogy of the spotless, all-knowing virtues, with the primary purpose of benefiting beings with limited intelligence, short lifespans, and low strength, and to establish the pursuit of righteousness (Dharma Purushārtha) and the pursuit of liberation (Moksha Purushārtha), along with the auxiliary auspicious threads of the auspicious sutra, like the noble Ārya, capable of destroying mental impurities.

Teekaarth : In that light of omniscience, the entire universe, along with the boundless space, is reflected at once. The substances (dravya) of the universe, divided into nine categories—Jīva (soul), Ajīva (non-soul), Āsrava (influx), Bandha (bondage), Saṃvara (stoppage), Nirjarā (shedding), Moksha (liberation), Puṇya (merit), and Pāpa (demerit)—are perceived as one. Upon realizing the true nature of these substances, one gains a comprehensive understanding of the nature of the seven tattvas (principles), six dravya (substances), and the Pañcāstikāya (five categories of existence).

Just as each bead threaded in a necklace is distinctly visible, in the same way, the entire group of attributes and modes (guṇas and paryāyas) of all substances is clearly reflected in the light of consciousness. Therefore, the analogy of the necklace is used. The phrase ‘entire’ signifies that this conscious light simultaneously illuminates infinite modes. The terms ‘samaṃ,’ ‘sākaṃ,’ and ‘sārdhaṃ’ all have the same meaning, indicating simultaneity. Alternatively, the adjective ‘samaṃ’ used in the verse is independent and is employed to convey the meaning of ‘together’ or ‘at once.’

Doubt: In the sutra, instead of using both the terms “samasta” (entire) and “ananta” (infinite), only the term “ananta” should be used, as both words convey the same meaning.

Resolution: Raising such a doubt is not appropriate because there is a specific relationship between the adjective and the noun in these terms, and therefore both words are not redundant. The term “samasta” is used to indicate the completeness of infinite modes (paryāyas). The intent is that the omniscient Lord knows all the infinite modes of all substances across the three times (past, present, and future) simultaneously. In that absolute omniscience (kṣāyika kevalajñāna), these substances reflect themselves, just like they do in a mirror. Just as all objects are clearly visible on the surface of a mirror, similarly, in the state of omniscience, all substances are distinctly perceived. Here, the word “iva” is used metaphorically to convey this comparison.

Doubt: In a mirror, only the front part of an object is visible, while the back part is not. Does this mean that in Kevalajñāna (omniscience), only the front part of all substances is perceived?

Resolution: It is not appropriate to have such a doubt because an analogy (such as the mirror) only serves as a partial comparison, not a complete one. In the sutra, the word “tat” is a pronoun that points towards the indirect or subtle. Hence, through the use of the word “tat,” the extreme subtlety of Kevalajñāna is indicated.

The term “jyoti” (light) is commonly known to refer to the supreme soul.

Alternatively, Kevalajñāna is also like jyoti (light) because it is the cause of illuminating substances. As stated in the Ekībhāva Stotra, Kevalajñāna is referred to as light because it is the cause of dispelling the darkness of sin. May that Kevalajñāna Jyoti (light of omniscience) be victorious. This light is supreme because it is never destroyed. There are many forms of auspiciousness (maṅgala) related to the mind, speech, and body. Among them, remembering the positions of the five supreme beings (Pañca Parmesthī) or cultivating a feeling of welfare or happiness for the world is called mental auspiciousness. Praising the virtues of venerable individuals through speech is known as verbal auspiciousness. Verbal auspiciousness can be of two types: composed (nibaddha) and uncomposed (anibaddha). Both are sometimes considered as a form of victory, as in the expression “tajjayati paraṃ jyotī”, etc., found in this text, and sometimes as a form of blessing, as in the verse “śriyaṃ jagadbodhavidhau vihāyasi vyadīpi nakṣatramivaikamudgatam. sa yasya vastīrtharathasya suvrataḥ pravartako nemiranaśvarīṃ kriyāt” meaning, “May Lord Munisuvratanath and Lord Neminath, who shone like a star in the sky to impart knowledge to the world, bring us eternal welfare.” In other instances, auspiciousness may be descriptive of an object.”

In the fifth Pūrva, from the third Pāhuḍ of the tenth Vastu, arises the Peya Dosa Pāhuḍ, which is known as Kaṣāya Prābhṛta. In this Ārya, the auspiciousness is described in terms of the object (Vastu Vyāvartana Mangal). Elsewhere, auspiciousness takes the form of praising virtues, as in the verse:

‘Mokṣamārgasya netāraṃ, bhettāraṃ karmabhūbhṛtām। Jñātāraṃ viśvatattvānāṃ, vande tadguṇalabdhaye॥’

In this Anuṣṭup verse, the salutation is not directed toward a specific individual but toward virtues.

Kāyika Mangal (auspiciousness related to the body) is also of two types: worldly (laukika) and transcendental (alaukika). Among them, the sight of a filled pot, a cow feeding its calf, and a married woman are considered examples of worldly bodily auspiciousness. The sight of a naked Digambara monk is considered transcendental bodily auspiciousness. Therefore, in this text, the composed verbal auspiciousness in the form of Jayavāda (proclamation of victory) is well-known.”

Explanation: The term “Pada” mentioned in the commentary is of two types: the Pada known from grammar and the Pada known from philosophy. Here, the Pada from the philosophical context is emphasized. This Pada is of three types:

1. Pramāṇa Pada: A group of eight or more syllables is called Pramāṇa Pada. This is used to indicate the quantity of non-canonical scriptural knowledge (Angabāhya Shruta). For example, each line of an Anuṣṭup verse consists of eight syllables.
2. Madhyama Pada: Madhyama Pada refers to the words that determine the quantity of canonical scriptural knowledge (Angapravishta Shruta). In the scriptures, the number of syllables in Madhyama Pada is 1,634,83,788 (1.63 billion). The Madhyama Pada mentioned in the twelfth Anga of the scriptures should be understood in this context.
3. Artha Pada: A group of syllables that conveys a complete meaning is called Artha Pada. The number of syllables in this Pada is not fixed. This is used to analyze canonical scriptural knowledge through Madhyama Padas. The total number of Padas in the entire canonical scriptures (Dvadasānga) is 1,12,83,58,005 (1.12 billion).

Doubt: What is meant by “Artha”?

Resolution: The knowledge that comprehends these Padas is called “Artha”. The supreme light (Kevalajñāna) is so glorious that all substances reflect in it according to their nature, and all their past, present, and future modes are perceived. Just as objects like pots and clothes are reflected on the surface of a mirror, the Kevalajñāna reflects all substances. The mirror does not have any desire to illuminate these objects, nor does it move toward them to reflect them. Similarly, the objects do not move toward the mirror or change their nature to be reflected. There is an inherent relationship between knowledge and the known, such that the objects are reflected in their true form in the mirror-like knowledge. In this way, all living and non-living substances are reflected in the mirror of knowledge. There is no substance or mode in the universe that is not perceived by Kevalajñāna. Therefore, that supreme light is worthy of praise.

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