and not by a deduction from
a certain _a priori_ principle like that of causality or identity of
essence [Footnote ref 2].

The material cause such as the clay is technically called the
_samavayi-kara@na_ of the jug. _Samavaya_ means as we have seen
an intimate, inseparable relation of inherence. A kara@na is called
_samavayi_ when its materials are found inseparably connected
with the materials of the effect. Asamavayi-kara@na is that which
produces its characteristics in the effect through the medium of
the samavayi or material cause, e.g. the clay is not the cause of
the colour of the jug but the colour of the clay is the cause of the
colour of the jug. The colour of the clay which exists in the clay
in inseparable relation is the cause of the colour of the jug. This
colour of the clay is thus called the asamavayi cause of the jug.
Any quality (_gu@na_) or movement which existing in the samavaya
cause in the samavaya relation determines the characteristics of
the effect is called the asamavayi-kara@na. The instrumental

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[Footnote 1: Dr P.C. Ray's _Hindu Chemistry_, 1909, pp. 249-250.]

[Footnote 2: See for this portion Dr B.N. Seal's _Positive Sciences of the
Ancient Hindus_, pp. 263-266. _Sarvadars'anasa@mgraha_ on Buddhism.
_Nyayamanjari Bha@sa-pariccheda_, with _Muktavali_ and _Dinakari_, and
_Tarkas@mgraha_. The doctrine of Anyathasiddhi was systematically
developed from the time of Ga@nges'a.]

323

_nimitta_ and accessory (_sahakari_) causes are those which help the
material cause to produce the effect. Thus the potter, the wheel
and the stick may be regarded as the nimitta and the sahakari
causes of the effect.

We know that the Nyaya-Vais'e@sika regards the effect as nonexistent,
before the operation of the cause in producing it, but it
holds that the gu@nas in the cause are the causes of the gu@nas in
the effect, e.g. the black colour of the clay is the cause of the
black colour of the effect, except in cases where heat comes as an
extraneous cause to generate other qualities; thus when a clay
jug is burnt, on account of the heat we get red colour, though the
colour of the original clay and the jug was black. Another important
exception is to be found in the case of the production of
the parima@nas of dvya@nukas and trasare@nus which are not produced
by the parima@nas of an a@nu or a dya@nuka, but by their
number as we have alr