कान्हड़दे प्रबन्ध (कवि पद्मनाभ - जालोर चौहान वीरगाथा, अलाउद्दीन खिलजी से युद्ध व जौहर इतिहास)

प्रास्ताविक वक्तव्य ५
देशभाषाओंको, विद्वान् जन या तो सामान्य रूपसे प्राकृत कह कर उल्लिखित करते थे, या फिर
काव्यशास्त्रके विवेचकोंने विशेषतया जिसका नाम अपभ्रंश रखा था, लोकभाषाका उसी अपभ्रंश
नामसे व्यवहार करते थे । भाषाके कवियोंने तो नहीं लेकिन व्याकरणके विद्वानोंने, इन लोक-
भाषाओंको लक्ष्य कर, प्राचीन प्राकृत और तद्भव अपभ्रंश भाषाभेदोंके, जो कुछ नाम निर्दिष्ट किये
हैं उनमें एक गौ र्ज र अ प भ्रं श नाम भी मिलता है । इस दृष्टिसे हम इस प्रबन्धकी भाषाको
'गौर्जर अपभ्रंश' भी कहें तो उसमें कोई असंगति नहीं प्रतीत होती । शायद इसी विचारको लक्ष्यमें
रख कर, गुजराती भाषाके समर्थ विद्वान् एवं प्रौढ भाषाशास्त्रज्ञ स्व० नरसिंहराव भो० दिवेटियाने
प्रस्तुत प्रबन्धकी भाषाको 'प्राचीन गुजराती' भाषा न कह कर 'गूर्जर अपभ्रंश' कहना उचित
समझा होगा ।
इस प्रकार प्रस्तुत प्रबन्धको प्राचीन राजस्थानी, अथवा प्राचीन गुजराती, अथवा तो
गूर्जर अपभ्रंश, चाहे जिस भाषाकी रचना कही जाय या मानी जाय । इसमें वाद-विवादका
कोई कारण हमें नहीं लगता । वास्तवमें यह रचना समूचे पश्चिम भारतकी 'नूतन-भारत-आर्य
-भाषा' कुल की एक प्रतिनिधिरूप और प्रमाणभूत उत्तम साहित्यिक कृति है । अतः इस
दृष्टिसे इसका अध्ययन, अवलोकन और अनुशीलन होना आवश्यक है; और इसी विशुद्ध
वैज्ञानिक विचारको लक्ष्यमें रख कर, हमने इसे राजस्थान पुरातन ग्रन्थमाला द्वारा प्रकट
करना उचित समझा है ।
❊
इस प्रबन्धमें, कुछ तो राजस्थान-गुजरातके गौरवमय सुवर्णयुगकी समाप्तिका वह करुण
इतिहास अंकित है जिसे पढ कर हम खिन्न होते हैं, उद्विग्न होते हैं और रुदन करते हैं; पर साथ
ही में इसमें, उस कराल कलियुगमें भी देवांशी अवतार लेनेवाले ऐसे धीरोदात्त वीर पुरुषोंका
आदर्श जीवन चित्रित है जिसे पढ कर हमें रोमांच होता है, गर्व होता है और हर्षाश्रु आते हैं ।
जिस समयकी घटना का इस काव्यमें वर्णन है वह समय भारतके लिये बडा भयंकर प्रलय-
काल-सा था । भारतकी प्राचीन संस्कृति और समृद्धिका सर्वनाश करने वाला वह असाधारण विकराल
काल था । उस कालदैत्यके कोपानलसे शताब्दियोंसे संचित और सर्जित भारतकी उस संसार-
मोहिनी संस्कृति, समृद्धि, सार्वभौमता और सुरक्षितताका बहुत बडा भाग, कुछ ही क्षणोंमें
भस्मीभूत-सा हो गया । पूर्वदेशका पाल-साम्राज्य, मध्यदेशका गाहडवाल साम्राज्य, दिल्ली-लाहोरका
तोमर-राज्य, अजमेर-सपादलक्षका चाहमान-राज्य, अणहिलपुरका चालुक्य महाराज्य, अवन्ती-
मालवका प्रमार साम्राज्य, एवं दक्षिण-देवगिरिका यादव राज्य-इस प्रकार भारतके पूर्व, पश्चिम,
उत्तर, दक्षिण जैसे चारों खण्डोंमें, कई शताब्दियोंसे अपनी बलवान् सत्ता जमाये
हुये बडे बडे राज्य और उनके शासक राजवंश, इस दुष्ट दावानलकी दुर्देवी
ज्वालाओंसे कुछ ही दिनोंके अन्दर, देखते देखते, दग्ध हो गये । अपार समृद्धिसे भरे हुए उनके
असंख्य राज्यभण्डार घडियोमें लुट गये । हजारों वर्षोंसे खडे हुए गगनचुंबी और पातालकंपी
महान् राजप्रासाद एवं देवमन्दिर थोडी ही पलोंमें शतखण्ड हो हो कर धराशायी हो गये ।

६ कान्हड दे प्रबन्ध
उक्त प्रत्येक देशमेंसे लाखों नर-नारी धर्मभ्रष्ट, गृहविहीन और बन्दी बन गये और लाखों ही
अपने प्राणों तकसे मुक्त हो गये । यद्यपि इस कराल कालके सर्जक और प्रतिनिधि स्वरूप उन
यमदूतसे आक्रान्ताओंके अनेक इतिहासकारोंने इस प्रलयके विषयकी सत्य-असत्य ऐसी असंख्य
घटनायें आलेखित की हैं-परन्तु जिस देश पर, जिस जनता पर, जिस जाति पर, इस प्रकार,
उस दुष्ट दानवने अपना दैत्यास्त्र चलाया, उसकी अनन्त सन्तानोंमेंसे शायद ही दो-चार व्यक्तियोंने,
ऐसी दो-चार छोटी-बड़ी कृतियोंमें, उक्त कालकथाका कुछ आभास आलेखित किया है ।
इन्हीं दो-चार व्यक्तियोंमें से, प्रस्तुत प्रबन्धकर्ता कवि पद्मनाभ भी एक है और इसका स्थान
उन सबमें प्रथम नहीं तो प्रधान तो अवश्य है । इस देशप्रेमी, जनताप्रेमी, जातिप्रेमी कविने,
उक्त कालकथाका जितना संगत, जितना संयत, जितना समुचित वर्णन किया है वैसा शायद
अन्य किसी कविने, अन्य किसी कृतिमें नहीं किया । साक्षात् प्रलयसदृश उस क्रूर महाकालके साथ,
राजस्थानके एक छोटेसे सुवर्णगिरि दुर्गपर रहनेवाले स्वल्पसंख्यक महावीरोंने और वीरांगनाओंने,
कैसा भयंकर अट्टहास किया, उस दुर्धर दानवका कैसा मार्मान्तिक उपहास किया और उसके दुष्ट
मनोरथोंको कैसे चूरचूर किया, इसका वास्तविक चित्र कवि पद्मनाभने इस काव्यमें बडी
हृदयंगमताके साथ आलेखित किया है ।
काव्यगत वस्तुका विस्तृत विवेचन यहां अपेक्षित नहीं है । वह तो इसके दूसरे भागमें
दिया जायगा । प्रस्तुतमें तो केवल संक्षेपमें काव्यकी उपयोगिता और विशिष्टताका सूचक कुछ
परिचय देना ही उद्दिष्ट है ।
*
इस काव्यकी एक हस्तलिखित प्राचीन पोथी, सबसे पहिले, भारतीय संस्कृति, साहित्य
और इतिहासके असाधारण प्रेमी एवं अन्वेषक, स्वर्गस्थ महान् जर्मन विद्वान् डॉ. ब्यूल्हरको
राजस्थान एवं गुजरातमें प्राचीन ग्रंथोंकी खोज करते समय, सीरोही राज्यके निकट-
स्थ एवं उत्तर गुजरातकी सीमा पर बसे हुए, थराद (प्राचीन 'थिरापद्र') नामक गांवके एक प्राचीन
जैन ग्रन्थभंडारमें मिली । डॉ० ब्यूल्हरने तुरन्त उसकी उपयोगिता पहचान ली और गुजराती
भाषाकी एक विशिष्ट प्राचीन कृति एवं गुजरात-राजस्थानके इतिहासका एक विशिष्ट प्रबन्ध
समझ कर, इसको प्रकाशित करनेके लिये, तत्कालीन 'गुजरात शाळा पत्र' नामक मासिक
पत्रके संपादक सुप्रसिद्ध गुजराती विद्वान् नवलराम लक्ष्मीराम पंड्याको भेज दी, जिसे
उनने अपने मासिकके सन् १८७७-७८ के कई अंकोंमें, क्रमशः प्रकट किया ।
'गुजरात शालापत्र' में प्रकाशित यह प्रबन्ध भाषा या पाठशुद्धिकी दृष्टिसे बहुत ही सामान्य
कोटिका था । पीछेसे जब कुछ अन्य विद्वानोंने इस ग्रन्थका विशेष अवलोकन किया, तो इसकी
कुछ चर्चा होने लगी और इसके अध्ययनकी ओर कुछ आकर्षण बढ़ने लगा । सन् १९१३ में
गुजराती साहित्य एवं भाषाके अन्यतर विद्वान्, स्व० डाह्याभाई पी० देरासरीने इस प्रबन्धकी
कुछ और हस्तलिखित प्राचीन प्रतियां प्राप्त कर, उनके आधारसे एक अच्छा संस्करण तैयार

प्रास्ताविक वक्तव्य ७
करनेका प्रयत्न किया और पाठशुद्धिकी दृष्टिके साथ, प्रस्तावना, टिप्पण आदिसे सज्जित कर इसे
प्रकट किया । यद्यपि श्रीयुत देरासरी द्वारा संपादित वह संस्करण सामान्यतया अच्छा था, परंतु
पाठशुद्धि आदिकी दृष्टिसे जैसा चाहिये वैसा उपयुक्त नहीं था। पिछले कई वर्षोंसे बंबई युनिव-
र्सिटीके गुजराती साहित्य विषयक पाठ्यक्रममें इस प्रबन्धका समावेश होता रहा है, अतः इसका
पठन-पाठन बढा और विद्यार्थियोंको एवं अध्यापकोंको इसके एक उत्तम एवं शास्त्रीय पद्धतिके
मुताबिक संपादित नूतन संस्करणकी आवश्यकता विशेष प्रतीत होने लगी ।
राजस्थान और गुजरातके कई स्थानोंके ग्रन्थभंडारोंमें इस प्रबन्धकी कुछ और प्राचीन
प्रतियोंकी उपलब्धि हुई जिसे देख कर मेरे मनमें यह विचार हुआ कि इसका नूतन संस्करण
कोई विद्वान् तैयार करे तो बहुत उपयोगी होगा । कोई सन् १९३९-४० में प्रो० कान्तिलाल
व्यासके सम्मुख, प्रसंगवश वार्तालाप करते समय, मैंने अपना यह विचार प्रदर्शित किया; तो
इनने बडे उत्साह और आनन्दके साथ, इस कार्यको हाथमें लेनेकी अपनी उत्कंठा प्रकट की और
फिर, मैंने भी इसमें मुझसे हो सके वह सहायता करने-करानेका अपना मनोरथ प्रकट किया ।
उस समय मेरे मनमें था कि यदि अन्य कोई संस्था इसके प्रकाशनका प्रबन्ध न कर सकेगी
तो मैं अपनी सिंघी जैन ग्रन्थ माला द्वारा ही इसे प्रकट करनेका प्रयत्न करूंगा ।
यद्यपि प्रो० व्यासने इसके संपादनका कार्य उसी समयसे प्रारंभ कर दिया था, लेकिन
अन्यान्य भण्डारोंमें से प्राचीन प्रतियां प्राप्त करनेमें और उनके पाठान्तर आदि लेनेमें अपेक्षासे बहुत
ही अधिक श्रम और समयसाध्य कार्य अनुभूत हुआ । लगभग ११-१२ वर्ष जितने दीर्घ समयमें
इसका पाठसंकलन कार्य संपन्न हुआ । इस संकलनमें किस किस प्रकारकी प्राचीन पोथियोंका
उपयोग किया गया है, उसका विस्तृत परिचय प्रो० व्यासने अपनी विस्तृत अंग्रेजी भूमिकामें
दिया है ।
सन् १९५० में, राजस्थान सरकारने, राजस्थानकी साहित्यिक, ऐतिहासिक और
सांस्कृतिक साधन-सामग्रीका अन्वेषण, संग्रह, संरक्षण, संशोधन और प्रकाशन आदि करनेकी
दृष्टिसे, परामर्शके लिये मुझे आमंत्रित किया। मेरे सुझाव और प्रस्तावके अनुसार, सरकारने
राजस्थान पुरातत्त्व मन्दिर नामक कार्यालयकी स्थापना की और उसका प्रारंभिक संचालन
कार्य सम्भालनेके लिये भी मुझे ही आदेश दिया । तदनुसार राजस्थान पुरातत्त्व मन्दिरके जो कार्य
चालू किये गये हैं, उनमें एक प्रधान अंगस्वरूप कार्य राजस्थान पुरातन ग्रन्थमाला
का प्रकाशन है जिसके द्वारा, विशेष रूपसे, राजस्थानके साथ संबन्ध रखने वाले संस्कृत, प्राकृत,
अपभ्रंश और राजस्थानी-गुजराती, हिन्दी आदि भाषाओंमें रचे गये ग्रन्थोंको, सुयोग्य विद्वानों द्वारा
संशोधित-संपादित-अनुवादित आदि करा कर प्रकट करनेका है। प्रो० व्यास द्वारा सुसंपादित
प्रस्तुत 'कान्हड दे प्रबन्ध' इस ग्रन्थमालाका एक बहुत उपयुक्त और बहुमूल्य मणि जैसा भूषण
स्वरूप होगा, ऐसा सोच कर मैंने इसको, इस ग्रन्थमालामें गुम्फित करनेका अपना अभिप्राय

८ कान्हड दे प्रबन्ध
इनको सूचित किया; तो इनने इसका बडे आदरके साथ स्वीकार किया । इसके फलस्वरूप,
प्रायः तीन वर्षके सतत परिश्रमके बाद, इसका मूलग्रन्थ स्वरूप यह प्रथम भाग, आज विद्वानोंके
हाथोंमें उपस्थित किया जा रहा है ।
प्रो० कान्तिलाल व्यास मेरे बहुत ही निकटीभूत मित्रोंमेंसे हैं । इनकी साहित्योपासना
बडी लगनवाली है । हाथमें लिये गये कामको ये बडी श्रद्धा और निष्ठा पूर्वक करनेका स्वभाव
रखते हैं; और साथमें एक बहुत ही विनम्र शिष्यके रूपमें अपने आपको उपस्थित करते हैं ।
बंबई राज्यकी सर्वश्रेष्ठ सरकारी कॉलेजके, गुजराती भाषाविभागके, ये प्रधानाध्यापक हैं और
प्राचीन गुजराती भाषा, प्राचीन भारतीय इतिहास एवं अन्यान्य विविध संस्कृति विषयक अनेक
विषयोंमें, मौलिक अनुशीलन और संशोधन स्वरूप विशिष्ट कोटिका काम करते रहते हैं । अपने
अध्ययन-मननके परिणाम स्वरूप कई अच्छे निबन्ध और पुस्तक आदिका इनने प्रणयन किया
है जिनका विद्वानोंने अच्छा सत्कार किया है एवं युनिवर्सिटी आदि प्रौढ प्रतिष्ठानोंने उनकी
मूल्यवत्ताको उपलक्ष्य कर, इनको सुवर्णचन्द्रकादि जैसे पारितोषिकोंसे सत्कृत किया है । इनका
संपादित 'वसन्त विलास' नामक प्राचीन गुजरातीका रसात्मक फागु काव्य विद्वानोंमें बहुत
आदरपात्र बना है और कई युनिवर्सिटियोंने, अपने 'नूतन भारतीय भाषा विषयक' पाठ्यक्रममें
उसे समाविष्ट किया है । इसी 'वसन्त विलास' की प्रस्तावना लिखते समय हमने इनके विषयमें
आशा प्रदर्शित की थी कि-'प्रो० व्यास इस तरह अपना संशोधनकार्य सतत चालू रखेंगे
और उसके द्वारा प्राप्त सुंदर फल, समशील विद्वानोंके सम्मुख उपस्थित कर, उनके अभिनन्दन
प्राप्त करते रहेंगे ।' हमारी वह शुभाशा, आज प्रस्तुत ग्रन्थके, इस प्रकारके, उत्तम संपादन-
रूपमें, अच्छी तरह फलवती हुई देख कर, मुझे और भी विशेष आनन्दका होना स्वाभाविक
है और इस लिये मैं आज पुनः, ठीक ११ वर्ष बाद, उसी जयाभ्युदयकारिणी विजयादशमीके
मांगलिक दिन (उक्त 'वसन्त विलास फागु' की प्रस्तावना भी मैंने वि. सं. १९९८ के
विजयादशमीके दिन लिखी थी) इनको अपना हार्दिक अभिनन्दन देता हूं ।
विजयादशमी, वि. सं. २०१० }
१७, अक्टूबर, १९५३ } मुनि जिनविजय

INTRODUCTION
I
The Kānhaḍade Prabandha is perhaps the most valuable treasure
in Old Gujarātī or Old Western Rājasthānī, as it is called by
Dr. TESSITORI. It is an epic of a glorious age and there is nothing to
compare with it either in Old or Modern Gujarātī. It can easily stand
comparison with the celebrated Pṛthvīrāja Rāsā in Old Hindi.
There are various reasons why the Kānhaḍade Prabandha
has attained this unique position. In the first place, it is a text of
supreme importance for a study of the development of the Gujarātī
language. Composed as early as v. s. 1512, it represents an important
landmark in the evolution of the Gujarātī language. It embodies
a stage when Gujarātī and Rājasthānī were just beginning to evolve
their distinctive characteristics from the common source—the post-
Apabhraṁśa. While the morphology and the general character of the
language are unmistakeably Gujarātī, its phonology reveals several
Rājasthānī traits. It is a rich mine of typical Old Western Rājasthānī
words, many of which are rarely met with in other Old Western Rājas-
thānī works. Besides being a gifted poet the author was an erudite
scholar. His work, therefore, faithfully reproduces the standard form
of the language current at the time. This text, fortunately, has been
handed down by learned scribes who have taken care to preserve its
linguistic peculiarities with great fidelity. The result is that we get
from this work a clear picture of the Old Gujarātī language or Old
Western Rājasthānī as it prevailed in the middle of the 15th century
A. D. And herein lies the value of this work because the works of
eminent mediaeval poets like Narasiṁha and Mīrābāī, although
belonging approximately to the same age, have considerably suffered
in the process of transmission in later times.
From the historical point of view, also, the Kānhaḍade
Prabandha is without a parallel in the entire Old Western Rājasthānī
literature. It is perhaps the only OWR Prabandha that gives an
accurate account of historical events. There is hardly any doubt
that the poet has drawn at first-hand on court-records and chronicles
as well as the current historical traditions of Rājasthān. His
references to the contemporary geography of India are always
accurate. The value of this work as a source-book of the history of
the period, therefore, must be rated very high indeed. Moreover,
the work is a mine of information on the social customs and manners
*

2 KĀNHAḌADE PRABANDHA
of the period. It is a work of the utmost importance, therefore, to
the social historian as well.
And lastly, the Kānhaḍade Prabandha can claim a high place
of honour as a work of art. It is an epic poem, grand in its
design, vigorous in the portrayal of its characters, and masterly in
its treatment of the sentiments. The flow of its narrative, punctuated
by descriptions—lively, sombre or gay—and its songs filled with a rare
lyrical charm, make this work a classic ornament of Old Western
Rājasthānī literature.
II
It was only natural that a work of such outstanding importance
should soon attract the attention of scholars. Dr. BÜHLER, the well-
known orientalist, chanced upon a manuscript of this work, preserved in
a Jaina Jñāna Bhaṇḍāra (manuscript-library) at Tharād, North Gujarāt,
during his tour in search of manuscripts of Sanskrit and Prakrit
works. He promptly got it copied and sent it to the late Naval

INTRODUCTION 3
(4) the ᴍꜱ (dated v. s. 1930), which Dr. BÜHLER got copied
and sent to Navalrām (designated as घ);
(5) a recent ᴍꜱ containing the first 150 verses of the
Kānhaḍade Prabandha, copied out by some cāraṇa (bard) for his
personal use (designated as च).
Of these ᴍꜱꜱ क and घ are identical, क being printed verbatim
from the घ ᴍꜱ. ख and घ both come from Tharād and both have a big
common lacuna¹. It can, therefore, be presumed that both are identical,
ख representing the original ᴍꜱ from which the copy घ was prepared
at the instance of Dr. BUHLER. Of the remaining ᴍꜱꜱ ग represents
another manuscript-tradition, while च is fragmentary and is very
modern.
From these ᴍꜱꜱ DERĀSARĪ prepared his text. But according
to the practice then prevalent among Gujarati scholars, when Old Guja-
rātī studies were in their infancy, the editor did not base his collation on
any

4 KĀNHADADE PRABANDHA
Verses in DEERASARI'S Edition Corresponding Verses in the
Present Edition
मरण तणि भयि भोजन वार मरण तणइ भयि भोजन बार
वांसी चाटुउ धरइ सूआर ॥ बांस चाटवड धरइ सूआर ॥ १-२५
पातसाहनी पहिरामणी पातिसाहनी पहिरामणी
तव घरायउ ^1 सिम्भरनु धणी ॥ उगराहह सिंबरिनउ धणी ॥ १-३०
पाला पति पटावत काहर पाला पलइ पटायत काहर
भोइ नव लभि पार ॥ भोई नइ घलवाल ॥ १-४२
आगलि थिको वागडू सावज आगलि थिकी वागहू साविज
बाटि नाठां जाइ । वेडई नाठो जाइ ।
विसमी भूमि लीह विहू दिसि विसमी भूमि लेहें देसाउत
हुटी भाटां धाइ ॥ निहूं दिसि घाटो धाइ ॥ १-४९
आगइ अन्न वंग संू बीतुं आगइ अन्न वरासउ बीतउ
छयल

छह सही"
Wait, "लूणकरण माल्हण छह सही" - yes!

Pair 16 Right L2:
"छठी फोजइ जइमल जई रही ॥ ३-१८०"

Pair 17 Left L1:
"माणिकराय घरि जूथि वार"

Pair 17 Left L2:
"देवराज लीधु अवतार ।" (Single danda '।')

Pair 17 Right L1:
"माणिकराय घरि चडयी वार"

Pair 17 Right L2:
"महीपाल लीधउ अवतार ।" (Single danda '।')

Pair 18 Left L1:
"जयतलदे घरि हुं कुंयरी"

Pair 18 Left L2:
"सरूपदे नामि अवतरी ॥"

Pair 18 Right L1:
"योगादे घरि हू नूंअरी"

Pair 18 Right L2:
"सरूपदे नामइ अवतरी ॥ ३-१९९"

Footnotes section:
A horizontal line separates the main text from the footnotes.
Footnotes:
[L..] ¹ पडिउ I₂
[L..] ² तणा भला I₂
[L..] ³ मोल्हणदे I₂
Wait, let's look at footnote 3:
"³ मोल्हणदे I₂" or "³ मोल्हणदे I₂"? Yes: "

6 KĀNHADAḌE PRABANDHA
Verses in DERĀSARĪ'S Edition Corresponding Verses in the
Present Edition
देवलोकथा तुमी वार देवलोकथा तुमी वार
पृथवीहि हुई अवतार ॥ पृथवीइं नही हुई अवतार ॥ ३-२११
डुमरी आवी कूंयरि गुणी कमले आयी डुंयरी सुणी
गढ रन्वारी वधामणी ॥ गयउ रवारी बदामणी ॥ ३-२२७
शोभित बूर्ज बूर्ज कांगह सोभित बुर्ज बुर्ज काकरउ ॥
नदी तरुअर फलवा गह ॥ नदी तरुअर उमाहरउ ॥ ४-२५
जाणइ भरह भेद संगीत¹ जाणइ जेह भरहसगीत
पाटबंध ते गाइ गीत ॥ पादप्रबंध ते गाइ गीत ॥ ४-५५
राजेगणि सवि ग्या संचरी पहिलउं मंत्र सुपरढु करी
पहिलू सवि सहू मेलु करी ॥ राजेगणि सवि ग्या संचरी ॥ ४-१२५
पातसाइइ कासित मोकल्यु पातसाहि कासीद मोकल्यउ
मालदे देस मारइ एकलु । मालदेव वीर साहु एकलउ ।
कमालदीन कहिड सांभलि कमालदीन कहिउं सांभले
गढ लीधा विण पाछउ बलि ॥ विण लीधा मत पाछउ वले ॥ ४-१४५
कटक तोरकां ऊपरि सूंडी कटक तोरका ऊपरि सूंडी
राउ सींधल दल आव्युं ॥ रासूंघल दल आव्यौ ॥ ४-१७३
उलीधि कर उतारीया उल्हीचइ कर उभारीया
वार सहस मूगल मारीया ॥ वार सहस म्लेछ मारीया ॥ ४-२११
खाडा भरत कागरा कोठइ पांडाभरत काकरउ कोठउ
इसिउ कही वखाणिउ ॥ इसिउं कही वखाण्यउ ॥ ४-२१३
जेमु लखमण छलभु जाणि जेसल लखमण लूम्वउ जाणि
ए नासत नाठा निरवाणि ॥ ए भीसत नाठा निरवाणि ॥ ४-२६३
पूनु, आसुड, वीजड बेड पूनउ आसउ भीजड जेड
धारसी नइ ईंपु जेढ ॥ धारसीह नइ दूदउ बेड ॥ ४-२८०
वीरमदेवि सुपासण काज वीरमदेव बंश पण काज
ऊठ वीहाडा कीधू राज ॥ अठ्ठठ वीहाडा कीधउ राज ॥ ४-२९८
जे फल लहि तापसि सवि जे फल पामइ तपसी सवे
जे फल हुइ बंध छोडवि ॥ जे फल हुइ बांद छोडवे ॥ ४-३४०
पूर्णिथ सग सवि सजन मलइ प्रेमसंगि सवि सज्जन मिलइ
पूर्णिथ आस मनोरथ फलइ ॥ आस मनोरथ सहूइ फलइ ॥ ४-३५२
A critical edition in the strict sense of the the term, of such a
monumental epic was, therefore, for long a desideratum. Such an
edition would enable scholars to form a correct picture of the language,
history and literary achievements of this remarkable period in the
history of Gujarāt and Rājasthān.
¹ जाणइ गोतिष, भरह संगीत I₂

INTRODUCTION 7
III
The Kānhaḍade Prabandha had attracted my attention ever
since I read it for my M. A. in 1931-1933. While teaching the
poem to the B. A. students from 1937 to 1940 I found that a critical
edition of the text of this work was absolutely necessary.
From 1940 I started acquiring the manuscripts. I got the
two ᴍss from the manuscript-collection of the Bhandarkar Oriental
Research Institute, Poona¹, which were used by DᴇʀĀSAʀĪ and
designated by him as ᴍss ग and घ respectively. After a prolonged
search it was also possible to hunt out the old numbers of the
Śāḷāpatra, in which Navalrām had published serially the text of the
ᴍs sent to him by Dr. Bᴜʜʟᴇʀ (the text designated as क by DᴇʀĀSAʀĪ).
The effort, however, was wasted as the text printed by Navalrām
turned out to be a verbatim and rather faulty transcription of Bᴜʜʟᴇʀ's
ᴍs (ᴍs ष in DᴇʀĀSAʀĪ). The agreement between the two texts and
the identical colophon in both leaves no doubt whatsoever regarding
this identity.
It was then brought to my notice that there was a ᴍs of
the Kānhaḍade Prabandha in the collection of the Jaina Jñāna
Bhaṇḍāra of the Anantanāthjī's temple, Bombay. I approached
the trustees of the temple through the late Ambālāl B. JĀNĪ, himself
a veteran scholar of mediaeval Gujarati literature. With the trustees'
permission I visited the Bhaṇḍāra and found to my great surprise
that along with the ᴍs mentioned in the catalogue of the Bhaṇḍāra
(the c ᴍs in the present edition) there was also another ᴍs of
the same work lying unnoticed there, because its first folio was lost
so that the cataloguer was left without any clue regarding the name of
the manuscript. This ᴍs (ᴍs A in the present edition) turned out
to be a rare find, an invaluable treasure, for it happened to be the
oldest dated ᴍs, copied in v. s. 1598 in Jhalor, the poet's own place,
where it may have had for its basis the poet's autograph or a direct
copy of it. Both the ᴍss were made available to me by the trustees
(1940). I then learnt from the late Mohanlāl Dalichand DᴇsĀI that
a fragmentary ᴍs of the work existed in the Kesarbāī Jñāna
Bhaṇḍāra at Pātan. I went to Pātan in October, 1941, in search
of the ᴍs. The ᴍs, however, could not be traced there. I met
there Muni Śrī PᴜṆʏᴀᴠɪᴊᴀʏᴀᴊĪ who was then engaged in preparing
a catalogue of the manuscripts lying in the various Jñāna Bhaṇḍāras
of Pātan. He had two fragmentary ᴍss of the work in his private
¹ No. 1541 of 1891-95; and No. 239 of 1873-74.

8 KĀNHAḌADE PRABANDHA
collection, which he promised to trace and send to me after his
cataloguing work was over.
After waiting for these ᴍss for sometime I started collating
the four principal ᴍss (A, B, C, D) I had acquired so far, and prepared
the text (1945). Then I received the two fragments (ᴍss F, G in the
present edition) from Muni Śrī Puṇyavijayajī, and also a fragment
(ᴍs E) from D. B. K. H. Dhruva's collection in the Gujarāt Vidyā
Sabhā, Ahmedabad. I also learnt from Muni Śrī Puṇyavijayajī about the
existence of a complete ᴍs of the Kānhaḍade Prabandha in the Bhaṇ-
ḍāra of Saṁvegī's Upāśraya, Ahmedabad. For some reasons the ᴍs
did not become available then. I, therefore, collated the newly acquired
ᴍss (ᴍss E, F, G) and revised the text in the light of this new material
(1947-48).
Just then the ᴍs from the Bhaṇḍāra at Saṁvegī's Upāśraya,
Ahmedabad, came into my hands through the good offices of Muni Śrī
Puṇyavijayajī. A little later I learnt about the existence of two fur-
ther ᴍss of the Kānhaḍade Prabandha in the collection of Śrī Moti-
chandji Khajāñchī of Bīkāner, well known for his excellent collection of
old manuscripts and paintings. I contacted Śrī Motichandji who readily
placed at my disposal the two ᴍss for purposes of collation (1951).
Finally, when this edition was in the press and the first Khaṇḍa
was printed off I received a letter from Śrī Agarchand Nāhṭā, the
veteran Rājasthānī scholar and antiquarian, drawing my attention to
the existence of a ᴍs of the Kānhaḍade Prabandha in the library of
Godījī's Upāśraya, Bombay, acquired from the successors of the late
Mohanlāl Dalīchand Desāī. The ᴍs was made accessible to me by
the trustees of Godījī's temple and upāśraya. It came just in time to
be utilized for the present edition, for the portion of the text from
where this fragmentary ᴍs commenced was then about to be printed
off. (October, 1952).
The acquisition of the different ᴍss since 1947–48 made it
necessary for me to collate them and to constitute the text over again
in the light of the fresh manuscript-material now available to me.
The later acquisitions, and particularly ᴍs K from Śrī Khajāñchī's
collection at Bīkāner, were very helpful in illuminating several obscure
portions of the text. So far, the A ᴍs was the principal Rājasthānī
ᴍs available to me. Where it was mutilated or corrupt it became
difficult for me to restore the text satisfactorily. This handicap was
removed by the K ᴍs, which was a Rājasthānī ᴍs, copied with great

INTRODUCTION 9
care, and though undated, was almost as old as the Δ ms and belonged
to the same group.
I had access to all the mss used by DERĀSARĪ, except the one
which he had designated as ख. I, therefore, thought it necessary to
record variants from DERĀSARĪ's text (designating it as 1) where it
differed sharply from the rest, assuming that they probably belonged to
ms ख, which was inaccessible to me.
I have utilized all mss available in the government and other
public libraries, Jaina Jñāna Bhaṇḍāras and private collections of
Gujarāt and Rājasthān. So far as I am aware no extant ms of the work
has escaped my notice. I may claim that there is hardly any edition of
an old work in any of the Indian languages which has been prepared
from manuscript-material, so rich and rare as that used in the present
edition.
IV
The present edition is based on the following ten manuscripts.
Ms A, in the collection of the Jñāna Bhaṇḍāra of Anantanāthjī's
temple, Bombay, consists of 18 folios, of which the first is missing,¹
though, fortunately, the last folio containing the colophon has been
preserved. The edges of this folio (folio 18 verso) have, however,
suffered damage, with the result that some letters in the text have
disappeared.
Each folio measures about 11.2" by 4.5". The size ' of the
folios, however, is not quite uniform, as some one has evidently tried to
prune the edges.
There is a margin of .5" on the right-hand side and .25" on
the left-hand side, and a small margin of .15" to .25" is kept above and
below the writing in each page.
There are on an average 23 lines per page. Folios 2, 8 recto,
9 verso, 10, 11 recto, 12 recto, 14 verso, and 15 recto have 23
lines each. Folios 3 recto, 11 and 12 verso, 14 recto, 16, and 18 recto
have 22 lines each. Folios 4, and 7 and 13 verso have 24 lines per page.
Folios 3 verso, 5, 6 and 7 recto, 9 and 13 recto, have 25 lines each.
Folios 8 verso, 15 verso and 17 recto have 21 lines; and folio 17 verso
has 20 lines. Folio 6 verso has 13 lines, because a part of the page
had to be left blank, as the writing on the other side had penetrated
too deep. On folio 18 verso, where the ms ends, there are 17 lines only.
¹ The first 61 verses of the text are lost with this folio. ms A, thus, commences
with I 62. There are no other lacunae in the ms.
†

10 KĀNHADADE PRABANDHA
The number of letters per line varies from 54 to 60, the
average being about 57 letters per line.
Being written by a Brahmanical scribe it has no svastika or
conventional blank space in the centre of the page.
On the verso sides at the top of the left-hand margin is
written the title of the poem, namely, कान्हडदेनी चउपई¹, while in the right-
hand margin at the bottom is marked the number of the folio.
If a letter or a word is to be corrected, the wrong word or letter
is struck out and the correct word or letter is written in small hands just
above it. Similarly if a word or a letter has been inadvertently omitted
it is inserted in small hands just above its proper place, which is marked
with a cross. Sometimes the addition is made in the margins instead
of above the place of omission.² In that case the place of omission is
indicated by a small cross, and the addition is made in the nearer
margin between two crosses, care being always taken that the addenda
appear in the same line as the place of omission.
The numbering of verses is often faulty. The discrepancy is
only slight in Khaṇḍas I and II, while it is extensive in Khaṇḍas III
and IV. In the fourth Khaṇḍa the first stanza is numbered as 67,
evidently continuing the numbering of the previous khaṇḍa, while
the last stanza is numbered as 1000.
The verse-numbers, the names of the metres, the refrains
of songs, and colophons are all rubricated with red lac.
The praśasti or maṅgalācaraṇa is lost with the first folio, while
the colophons of the Khaṇḍas and the final colophon read as below:—
इति प्रथम खंड समाप्त ॥
इति द्वितीय खंड समाप्त. ॥
इति तृ(ती)य समाप्त खंड ॥ समाप्त ॥
इति श्री कान्हचरि(य) संपूर्ण मिति ॥ सवत १५ आपाढादि ९८ वर्षे श्री जालोरगढ महादुर्गे
विहारीवँशे मल्लिश्री अलीसर विजयराज्ये श्री अचलगच्छे गच्छाधिराज श्री गुणनिधानसूरि विद्यमाने । वा०
श्री मेलराज शिष्य सोप्रत श्री पुंण्यलब्धि महोपाध्याय सि वा० जयलब्धिगणि वा० श्री भानुलब्धिगणि लिषतं ॥
पं० चारित्रलब्धि वाचनार्थं ॥ काती वदि ९ गुरुवारे लिषत(म्) ॥
¹ On folio 3 the title is mentioned as कान्ह चोपाई, which may have been written
probably by a later reader or collector Folios 2, 5, 8 and 18 are without the
title, which may have disappeared when its edges crumbled away For the same
reason on some folios the number has been lost
² Such marginal additions are made on folios 4 verso, 5 and 6 recto, 7 verso, 9 recto,
10 verso, 11 recto, 13 verso, and 16 recto

राजस्थान पुरातन ग्रन्थमाला
कान्हडदे प्रबन्ध
[इ]ति श्री एकाणल्ह...
...गुरु एकाणल्ह...
...शिष्य श्री पद्मनाभ...
...विमुनीतात...
...नितमिंतरी...
...सारकनि...
...मंतकणी...
...मण्डलीक...
...मण्डलीक...
...श्री रामजी...
...श्री राम नाम...
...तत लीपण...
...आख्याण...
...श्री गोकुलनाथ...
...जय रवियतः
...मंधाधा च कृ-
...तरलियत-
३२ ॥२८॥
Last page (folio 18 verso) of the A ms.

10 KĀNHADADE PRABANDHA
The number of letters per line varies from 54 to 60, the
average being about 57 letters per line.
Being written by a Brahmanical scribe it has no svastika or
conventional blank space in the centre of the page.
On the verso sides at the top of the left-hand margin is
written the title of the poem, namely, कान्हडदेनी चउपई¹, while in the right-
hand margin at the bottom is marked the number of the folio.
If a letter or a word is to be corrected, the wrong word or letter
is struck out and the correct word or letter is written in small hands just
above it. Similarly if a word or a letter has been inadvertently omitted
it is inserted in small hands just above its proper place, which is marked
with a cross. Sometimes the addition is made in the margins instead
of above the place of omission² In that case the place of omission is
indicated by a small cross, and the addition is made in the nearer
margin between two crosses, care being always taken that the addenda
appear in the same line as the place

राजस्थान पुरातन ग्रन्थमाला
कान्हड़दे प्रबन्ध

[पाण्डुलिपि 'A' का अन्तिम पृष्ठ (पत्र १८ पृष्ठ २) - प्रशस्ति/पुष्पिका भाग]

(मुख्य पाठ का अधिकांश भाग अति-क्षीण एवं अस्पष्ट मुद्रण/दोषयुक्त प्रतिकृति के कारण अपाठ्य है; केवल अन्तिम चरण के निम्नांकित अंश पठनीय हैं:)

॰॰॰ मिय
॰॰॰ कापर
॰॰॰ शिरोम
॰॰॰ तात
॰॰॰ लिहो यै
॰॰॰ लिति
॰॰॰ डिउमी
॰॰॰ खीख
॰॰॰ चपाज
॰॰॰ भीजिन
॰॰॰ श्री ॰॰ रामइ
॰॰॰ नन्दन
॰॰॰ माणह
॰॰॰ किन्तःमि
॰॰॰ [वि]जियश्रीः
॰॰॰ ऽऽ पायकि
॰॰॰ पुत्र ॰॰ घट
३२ ॥२८॥ २४

Last page (folio 18 verso) of the A ms.

॥श्री॥ संवत १६७० वर्षे माह सुदि १५ गुरौ वासरे लिखितं दलपतेन वा रिणंक !
निषिद्धे किमपि न वाच्यं सुकवि कया एहि आं जो हु रंग उउ वत्र मण म ! राउल कउ म्हारो दीना
मांपूंछना उमति आप्णाउजवी कारि तिने दूत नी वर्षावा ॥७५॥ एकि विव्वे गने र म्योउ सिंह
ते दूत णां प्रविसि कुंत र ग्हिया ते फु ल कूद दंत णं नत दर्दै ॥ उक्तं ॥ प्रत्पवदन व नव सा णा उिक
ऽफल क ड त प या छि थ्या ॥ उफु ल कुदृ दंतं णं नत दर्दै ॥ अकलंकु दृष्टे दीठो थि वी ज
कुल कामिणी ध्यानि गते यु उलह उ हे रि प्राण । एतानि कुल पति सिंगांग धारि, ३ कुल
उहटे टिकदेदां तां उ फल क ड पविद्यू घउ ऽ ती तैपं कले दिदृगो घवसी ॥२५॥ उतिकुंल
णात्य गारी विने घिवा उ० वा दिउ ऽ कुलितिनि ऽङि• काह्य मरुद्दी तिने उ उ मा दुमा थण
मनां मूंकौ हुं • लहि डा गिका को छम्मा बा उि फुल ऽछह्या रिपुया ता ळणा गमन नाम उ०,
रिपु न्याति विस्कुल ककि रिह दि न उ सात्रि ॥ का ऽक वित्रिनि ऽके न गते दृष्टाहं ॥
कवि त्रि त्रिके नर यू लि ल घा नी रा थानि थ्यो स्यात तली । पाति डलप थ्र वे वि तलां २॥
उलियां मति का ऽउ न मत्रि ब्रिश्रुतियं नायुम नो रथ प्रां क्लि इ प्राऽस्तन वे ध कव्य
त मति घारी कलि बुद्धि क ध अउ तय विष्य सां वाल्या पा क उलियक्रिनिकुली !
शृंग प्रा ऽक द्विक्कतं णा पद्म नान मति विरचितं तणं । आश्वशारितुरिंग ऽकुं हत णां
चतुर्थः खण्डः ॥
॥शुभं भवतु॥

INTRODUCTION 11
The script is Brahmanical Devanāgarī of the Marwāḍi type.
It is clear and firm. It does not use the paḍīmātrā or the side-
mātrā, which is a characteristic of the Jaina Devanāgarī.
The manuscript is written on paper of a very inferior quality.
Sometimes, on account of this, the scribe had to allow half the side of
a page to remain blank (vide folio 5). The ᴍs is not well-preserved
either. The pages are soiled, perhaps on account of dampness, and
have been damaged at places by insects. The edges have suffered due
to careless handling, and on folio 18 the writing at the corners has
thus disappeared.
Inspite of this the ᴍs has been very valuable for fixing the
text. It is the oldest dated ᴍs, belonging to the same century as the
poet. It was copied in Jhalor, the poet's native place, where it was
possible that the copyist had access to the author's autograph copy or
an immediate copy of it. I have, therefore, given due weightage to
this ᴍs, and considered it most reliable in the constitution of the text.
Ms B, No. 1541 of 1891–95 in the collection of the Bhandarkar
Oriental Research Institute, is in the form of a pothi, stitched on
the left-hand side, which is rather unusual. The ᴍs contains
(1) the Karṇalīlāvilāsa of Sūradāsa, (2) the Kānhaḍade Prabandha
of Padmanābha, and (3) the Raṇamallachanda of Śrīdhara Vyāsa, in
that order.
On the first page and after the Karṇalīlāvilāsa some medical
formulae are copied out. The ᴍs covers in all 59 folios of which
47 are occupied by the Kānhaḍade Prabandha.
The folios are not numbered, but counting the opening folio of
the ᴍs as 1, the Kānhaḍade Prabandha starts on folio 8 verso, and
concludes on folio 55 verso. Each folio measures about 8" by 4.6".
There is a margin of .4" both on the right and the left, marked off by a
double line usually in black and sometimes in red ink. The margins at
the top and the bottom of the page are .3" wide.
On the first 20 sides there are, generally, 13 lines per page;
the remaining pages have usually 14 lines per page, except 18 sides—
most of them in the latter part of Khaṇḍa III and in Khaṇḍa IV—
which have 15 lines per page. The last page, where the poem
ends, has 16 lines.
The number of letters per line varies from 28 to 36, the
average being about 32 letters per line.
Neither the title of the poem nor the folio-numbers are
written in the margins.

12 KĀNHAḌADE PRABANDHA
When a letter is to be deleted, its head-line is crossed by
two small upward strokes,¹ or, occasionally, the head-line of the
letter is just omitted. If, however, several letters or words are
to be deleted, they are rounded off by a line or sometimes placed
between two brackets and rubricated². If a letter or word is omitted,
the addition is made in fine hand just above the place of omission³
Sometimes, the copyist has written the meaning of the word in
small hand just above the word⁴.
Refrains of songs and the recurring caraṇa occurring in several
verses are usually abbreviated⁵.
There are no marginalia except in IV 293 where in the margin
is written : १३६८ वैशाख.
The numbering of verses is regular up to I 38 ; after that two
verses and sometimes even four verses are numbered as one up to I 147.
Here the numbering becomes regular once again till the end of the
first Khaṇḍa, though occasionally a verse is left unnumbered. In