Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s14: Āgamaḍambaraprahasana of Jayanta Bhaṭṭa

c10.s14.1

Jayanta Bhaṭṭa is well known as a Naiyāyika. His magnum opus, *Nyāyamañjarī* is one of the most important treatises in logic. He hailed from a brāhmaṇa family of Gauḍadeśa. His ancestors had migrated to Kashmir in the seventh century CE. Captured and perhaps held prisoner for some time by the King Śaṅkaravarman, Jayanta as he himself informs, later on assumed the position of the minister to this very king. *Āgamaḍambara* was composed to support the royal policies of administering the religious sects and it is set in the contemporary locale of the author's times. Dharmottara, a Buddhist monk, Judge Viśvarūpa who is said to be a disciple of the Vedāntin Śaṅkara, and Vṛddhāmbhi, a scholar of *Arthaśāstra* who also represents the Cārvāka system in the play are all historical characters. Jayanta builds up a case for Brāhmanism here and the series of debates that occur ultimately culminate into a fervent pleading for the *varṇāśrama* system. The discussions that take place bear a message that all the Vedic and non-Vedic Āgamas — the Pāśupata, Śaiva, etc. — should be allowed to exist, except the Buddhists and Jainas. Saṅkarṣaṇa, the protagonist, is a *snātaka* (graduate) and a brahmaṇa. He enters into debates and discussions with various persons representing diverse faiths. He visits a Buddhist monastery in the Act I and defeats Dharmottara, the head of the monastery in debate. The philosophical discussions are not allowed to involve deeper questions and pertinent objections from the respondent’s side. Saṅkarṣaṇa first attacks the theory of evanescence and finds it inconsistent as it cannot explain the consistent existence of any object being viewed by us. Then he proceeds to attack the theory of consciousness and summarily dismisses it with the question — how can consciousness become conscious of itself? Emerging victorious from the monastery in this way, the valiant hero then visits a Jaina monk, Jinarakṣita. The latter abiding to his theory of “Anekānta” refuses to enter into a debate with him, so that the victory by the hero is easily gained. The entry of a couple with indigo robes, their singing and dances are very interesting. Jayanta is referring here to some Nīlāmbara sect akin to the Sahajīyās. The hero does not favour their presence and succeeds in expelling them. Finally Vṛddhāmbhi gives a discourse on the duties of the king from the point of view of an administrator as a scholar of Daṇḍanīti. The discussion on the inference of God is initiated. The Śaiva ascetic launches a counter-attack on the Bārhaspatyas or the Cārvākas, criticizing them for holding only one means of knowledge — perception. The king arrives on the scene and in his presence Saṅkarṣaṇa delivers a speech. The play with all its graphic and colourful descriptions and interesting scenes of tussle between diverse sects does present a picture of real debates happening in Jayanta’s times.