भूमिका

The article is a scholarly introduction by **Dr. Devendrakumar Shastri** to the Apabhramsha composition **“Ānandā” (also referred to as “Ānandatilaka”)**, consisting of **43 verses**. The work is described as one of the finest compositions in Apabhramsha lyrical literature and is fundamentally **mystical in character**. Its central theme is the relationship and distinction between the **soul (ātmā)** and the **supreme soul (paramātmā)**. It also discusses the rejection of external ritualism, purification of mind and emotions, the importance of the guru, spontaneous meditation (sahaja samādhi), and stabilization of consciousness in the true nature of the self. The poet conveys spiritual teachings in simple language without relying heavily on technical terminology, making the work relevant beyond sectarian boundaries. The introduction places the text within a long Jain mystical tradition extending from **Ācārya Kundakunda** through **Yogīndradeva, Devasena, Śrutasāgara**, and later **Muni Rāmasiṃha**, whose *Pāhuḍadohā* is cited as part of the same spiritual lineage. Although brief, the composition is considered highly meaningful and substantial. Linguistic evidence and the use of terms such as *bandha*, *karma*, *kevalajñāna*, *munivara*, *nirvāṇa*, and *karmapaṭala* indicate that the poet belonged to the **Jain tradition** and possessed deep knowledge of Jain philosophy. However, no reliable information about the author's life is known. The language suggests a region around **western Uttar Pradesh, Delhi, and Haryana**, and appears later than the language of Hemachandra. The editor considers the composition most likely to belong to the **latter half of the thirteenth century**, while earlier scholarly opinions had proposed the twelfth or thirteenth century. Overall, the text is placed between the **twelfth and fifteenth centuries**, with the thirteenth century regarded as the most probable period. The work is praised for its simplicity, lyrical quality, closeness to the spoken language, effective word selection, elegance, and depth of meaning. The title **“Ānanda”** (“Bliss”) is considered appropriate because the composition is filled with spiritual joy. The manuscript itself records the title **“Ānandatilaku”**, while “Ānanda” appears to have become the more commonly used name. The edited text was prepared from **three manuscript sources**. The primary manuscript comes from the **Jain Vidyā Sansthān, Śrī Mahāvīrjī**, preserved in manuscript bundle number 203. A second manuscript from the same institution is catalogued under bundle number 86. A third source is a published text from **Abhay Jain Granthalaya, Bikaner**, later printed by **Dr. Harishankar Sharma “Harish”** in *Ācārya Vijaya Vallabha Smṛti Grantha* (Vol. II, pp. 170–172). The manuscripts contain numerous scribal errors, and the editor undertook extensive correction while attempting to preserve the original readings as faithfully as possible. The manuscript bundle carrying the text is dated **Vikrama Samvat 1539**, establishing that the composition predates that manuscript copy.

Summary reviewed by a volunteer editor.