No. 28. — 1884.] fiest fifty jatakas. 121 



philosophical principle illustrated by a short story bearing 

 on what is enunciated. The second part is the anusan- 

 dhana, another story brought in by way of illustration. 

 Now, anusandhana is the same as anusamdhi; and I 

 believe the Jataka-phrase anusandhim ghdtetvd signifies 

 that the second story is brought to bear upon the first 

 story—the Paccuppanna-vatthu. Thus it will be seen that 

 Brali mi nism throws light upon Buddhism." 



The above facts are thus summarized : — " According to 

 Jainas. Brahminism and Buddhism come under one class, 

 the Ekamsika* and are, therefore, the opponents of Jainism. 

 But there is much common to Buddhism and Jainism, 

 Buddhism, Jainism, and Brahminism act and re-act upon 

 each other. The Buddhistic story-system, the Jain story- 

 system, and the Brahmanical story-system have their 

 points of comparison. The Jainas were, about the 4th 

 century B.C., mere philosophical sceptics. About the time 

 of Kunda-kundacharya, they grew into dogmatic thinkers 

 by the combined action of Brahmanism and Buddhism, 

 while picture-stories and sculptures on the Sutranjaya 

 hills correspond to the picture-stories and sculptures of 

 the Buddhists on the stupe of Bharhut." 



The stories not only describe the life of monastery, palace, 

 market, and village respectively, but their form has been 

 determined by the influence of each of these, — of the monks, 

 the princes, the traders, and the villagers. The Paccup- 

 panna-vatthu, or story of the present, arose out of the life 

 of the monastery, and deals with such points of morality, 

 religion, or philosophy, as the inmates of the monastery 

 may be supposed to have been familiar with, and turns on 

 incidents in the studies and discipline of the monks, their 

 errors, and controversies. The Atita-vatthu, or ' Story of the 

 Past,' is told to illustrate this, and to make the abstruse 

 topic interesting and amusing to the laity. 



" Of the compound story thus arising, a gatha or stanza 

 is the central part. These stanzas are tentatively classified 

 thus : — (1) Maxim gathas, or gathas which lay down general 

 truths and practical rules of life. (2) Ethical gathas, 

 gathas which inculcate morality, (3) Disciplinary gathas, 

 gathas which condense the Buddhistic feeling and aspira- 

 tion. (4) The Story gathas, gathas on which stories are 



