Some Notes On Buddha Sahajayani Siddha Natha Tradition

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The document explores various aspects of the Sahajayana Buddhist tradition, particularly focusing on its literature and the identity of its prominent figures, the Siddhas.

1. Saraha's Matrika-Prathamakshara-Dohak in Apabhramsa:

• The author, H. C. Bhayani, begins by discussing the "Matrika" or "Kakka" genre, which involves verses starting with consecutive letters of the alphabet. He notes that this genre was popular in early Indian literature.
• Bhayani highlights that while he had previously edited a post-Apabhramsa "Barahakkhara-kakka," he discovered a previously unknown Apabhramsa "Kakka" poem by the Buddhist Sahajayana Siddha Saraha.
• This poem, identified as Saraha's "Ka-kha-Doha," is known through its Tibetan translation in Rahul Sankrityayan's "Dohakosha," as the original Apabhramsa text is lost. Saraha's works are dated to the 8th century.
• The poem was likely in "Doha" meter and contained 34 "Dohas," covering the alphabet. It followed a pattern where each half of a "Doha" started with words beginning with consecutive consonants.
• The content of Saraha's poem naturally aligns with Sahajayana ideas and terminology. Bhayani provides examples of the initial words of each "Doha" half, illustrating the alphabetical structure.
• This discovery provides strong evidence for an early tradition of writing such alphabetical poems in Apabhramsa.

2. Were Santi and Bhusuka the Same or Different?

• This section addresses the considerable disagreement among traditional lists and accounts regarding the identity, succession, chronology, and authorship of the Siddhas.
• The primary focus is on the figures "Santipada" and "Bhusukapada," questioning whether they were one person or two.
• The author mentions Winternitz's work on Santideva, who is often placed in the 7th century AD, and the traditional accounts of his life as a prince from Saurashtra who renounced his throne.
• Bhayani then introduces two pieces of evidence that suggest a connection between Santideva and the author "Bhusuka" found in Caryas.
  • Caryas (songs) numbered 41 and 43 refer to "Bhusuka" using a specific phrase that is also found in another context.
  • An Apabhramsa passage from the "Sekoddeśa-Commentary" cites both "Bhusuka" and "Santi," mentioning a guru-disciple relationship between them. This suggests that Santi was a "Rajaputra" (prince) and that Bhusuka and Santi might be the same person.
• However, Bhayani acknowledges a counter-argument: the "Caryagitikosa" attributes some Caryas to "Santi" and others to "Bhusuka," implying they were different Siddhas.
• Furthermore, a list of Saraha's guru lineage places Bhusuka and Santi at different numbers, leaving the identification problem unsolved.

3. One More Instance of the Jhambadaka Song in Apabhramsa:

• Bhayani revisits his earlier notes on the "Jhambadaka Song," a genre characterized by a "Dhruvapad" (refrain). He had previously identified two instances.
• He presents a new instance quoted from the "Kriyasamuccaya" in the "Apabhranshavachanasangraha." This passage is notable for its musical refrain with song syllables, which is considered characteristic of the Jhambadaka song.
• He connects this to Svayambhu's epic "Paumacariya," where a similar phrase ("tena tena tena chitten") appears as a refrain. Bhayani believes these are instances of a musical device called "tila" in musicological texts, which continues today as "Trut" in North Indian musical tradition.

4. On the Names of Some Siddha-Nathas:

• This section discusses the names of the Siddhas, acknowledging that lists vary and many names are corrupt or modernized. The traditional figure of eighty-four Siddhas is seen as a result of revisions.
• Bhayani focuses on the linguistic sources of these names, categorizing them into Sanskrit, Prakritic, and those of obscure origin, possibly based on regional usages.
• He analyzes several names and their etymological origins, often linking them to professions, objects, habits, or social implications:
  • Objects/Instruments: "Kankana-pada" (wearing wristlets), "Kambala-pada" (wearing woolen blankets).
  • Professions/Habits: "Chappada" (fond of tasting), "Charchata" (carrying a fishing net), "Deng" (boatman), "Dombi" (man of the Domb community), "Tanti" (plays the lute or knows Tantras), "Tello" (oilman), "Hali" (ploughman).
  • Pejorative/Obscure: "Bhushuk," "Lui," "Virupa," "Shabar," "Saraha."
• Bhayani categorizes the meanings of these names, noting that some might have been given by devotees or followers, some suggest associations with lower castes and tribals, and others might be childhood nicknames or reflect a detachment from worldly self-value. He suggests names like "Meghya" and "Tighya" might be unflattering assumed names.

In essence, the document delves into the literary and cultural landscape of the Sahajayana Buddhist tradition, highlighting the linguistic richness of its poetry and the complex identities of its key figures, while also pointing to the socio-economic context that shaped their lives and appellations.