Acharya Ramchandra Gunchandra Evam Unka Natya Darpan - Book Summary

Here's a comprehensive summary of the provided Jain text about Acharya Ramchandra-Gunachandra and their work Natya Darpan:

This article, authored by Dr. Kamleshkumar Jain of Jain Vishva Bharati, Ladnun, focuses on Acharya Ramchandra-Gunachandra and their significant contribution to Sanskrit literary criticism, particularly the field of Alankara Shastra (the science of poetics and rhetoric).

The author begins by highlighting the importance of the Alankara Shastra in Sanskrit literature and lists prominent scholars in this field, including Bharata, Bhamaha, Dandi, Vamana, Anandavardhana, Mammata, Hemachandra, Vishvanatha, and Panditraj Jagannatha. The text emphasizes Hemachandra as a distinguished Jain Acharya who impressed not only Indian scholars but also foreign ones like Dr. Peterson.

The article then delves into Jain contributions to Alankara Shastra, noting that the earliest work in Prakrit is 'Alankara Darpan,' attributed to the 8th to 11th centuries by Shri Agarchand Nahata. While acknowledging Aryarakshita's (1st century CE) discussion of nine rasas (emotions) in the 'Anuyogadvarasutra,' the author clarifies that this was a general discussion and not part of the pure Alankara Shastra tradition.

The text then lists several subsequent Jain scholars and their works on poetics, including Vagbhata I (12th century), Hemachandra (12th century), Ramchandra-Gunachandra (12th century), and many others from the 13th to 17th centuries. It also mentions notable commentators on these works, such as Namisadhu's commentary on Rudrata's 'Kavyalankara' and Manikyamuni Suri's commentary on Mammata's 'Kavyaprakasha.'

The primary focus of the article is on Acharya Ramchandra-Gunachandra and their work 'Natya Darpan'.

Key information about Acharya Ramchandra-Gunachandra:

Association: Ramchandra and Gunachandra are consistently mentioned together, suggesting they were contemporaries and possibly disciples of Acharya Hemachandra. No information is available about their parents or lineage, indicating they were likely fellow disciples (sateerthya).
Discipleship of Hemachandra: Acharya Ramchandra explicitly states in his works that he was a disciple of Acharya Hemachandra, even his successor (pattadhar shishya). This is corroborated by an anecdote from 'Prabhavakacharita' where King Siddharaja Jayasimha asked Hemachandra who his worthy successor was, and Hemachandra named Ramchandra.
Ramchandra's Genius and Titles: Ramchandra was highly regarded for his exceptional talent and poetic skill, earning him the title 'Kavikataaramalla' (a warrior among poets) from Siddharaja Jayasimha. This title was bestowed upon him for his quick wit and ability to compose poetry on the spot. Two instances are cited: his response to why summer days are longer and his description of the city of Pattana.
Problem-Solving Ability: Ramchandra was also adept at solving poetic problems (samasya-purti). An example is given where he pleased King Kumarpala by completing a verse in a way that aligned with Jain principles.
Scholarly Recognition: His intellect is evident in his writings, such as 'Raghu Vilasa,' where he refers to himself as 'Vidyatrayi Charanm' (one who has mastered the three branches of knowledge). In the prologue of 'Natya Darpan Vivritti,' he is described as a master of grammar, logic, and literature.
Timeline: Ramchandra was active during the reigns of Siddharaja Jayasimha (1150-1166 VS / 1063-1142 CE) and his successors Kumarpala and Ajayadeva. He was tragically killed by royal decree during Ajayadeva's reign. His literary period is estimated to be between 1163 VS and 1233 VS.
"Prabandhasatakarta": Ramchandra is also known as "Prabandhasatakarta." While some interpret this as the author of a work called 'Prabandhasatak,' a more accepted view is that he was the author of a hundred prabandhas (narrative compositions), a testament to his prolific nature. Dr. K.H. Trivedi supports this interpretation.
Works: Ramchandra authored numerous works, including 11 dramas mentioned in 'Natya Darpan': 'Satya Harishchandra Natak,' 'Nala Vilasa Natak,' 'Raghu Vilasa Natak,' 'Yadavaabhyudaya,' 'Raghavaabhyudaya,' 'Rohini Mriganka Prakaran,' 'Nirbhayabheema Vyayoga,' 'Kaumudi Mitrananda Prakaran,' 'Sudha Kalasha,' 'Mallika Makaranda Prakaran,' and 'Vachanmala Natika.' Other significant works include 'Kumaravihara Shatak,' 'Dravya Alankara,' and 'Yadu Vilasa.' Dr. K.H. Trivedi estimates his total known works to be 47.
Gunachandra's Role: Little is known about Gunachandra's independent contributions. He is recognized as a contemporary and disciple of Hemachandra, associated with Ramchandra.

About 'Natya Darpan':

Significance: 'Natya Darpan' is described as an authentic and original treatise on drama. It introduces several new concepts to the tradition of Natya Shastra.
Contribution to Dramatic Forms: While following the established tradition from Bharata to Dhananjaya, Ramchandra innovatively proposes a new dramatic form called Prakaranika alongside the traditional Natika, thus establishing twelve types of Rupakas (dramatic forms).
Novel Concept of Rasa: A major distinguishing feature of 'Natya Darpan' is its acceptance of the dual nature of Rasa – both pleasant and unpleasant.
Extended Rasa Classification: Beyond the nine traditional rasas, the work posits the possibility of new rasas like Laulya, Sneha, Vyasan, Dukha, and Sukha by considering Trushna (desire), Aardrata (tenderness), Asakti (attachment), Arati (discontent), and Santosh (contentment) as Sthayi Bhavas (permanent emotional states). Shanta Rasa (peaceful sentiment) with its Sthayi Bhava of 'Shama' (tranquility) is also discussed.
Inclusion of Lost Works: The text references numerous works that are no longer extant, thus possessing historical value.
Clarity and Detail: The commentary (Suopagna Vivritti) provides exceptionally clear and detailed explanations of complex topics presented in the Karika (concise verses), making them accessible even to those with ordinary intellect.
Praise from Acharya Baldev Upadhyay: Acharya Baldev Upadhyay notes the significant place of 'Natya Darpan' among dramatic treatises, bridging the gap between Dhananjaya and Vishvanatha Kaviraja. He highlights its important and novel themes, such as the dual pleasant-unpleasant nature of Rasa. He also acknowledges its historical value for quoting ancient and nearly lost dramatic forms.
Structure: The work is divided into two parts: the original text in Karika form and its commentary. The Karikas contain the theoretical aspects, while the commentary provides examples and explanations.
Four Sections (Viveks):
- First Vivek: Covers invocation, statement of the subject, listing of 12 dramatic types, the nature of 'Nataka' (drama), types of heroes, four types of plots (Vritta), and rules for character portrayal. It also details the five Arthopakshepas (preliminary elements), five Phala-hetus (causes of the plot's development), five stages of dramatic action (Avasthas), five dramatic junctures (Sandhis), and their 65 sub-categories.
- Second Vivek: Elaborates on the remaining 11 dramatic types (Prakarana, Natika, Prakarani, Vyayoga, Samavakara, Bhana, Prahasana, Dima, Utsrushtikanka, Ihamriga, and Vithi) with definitions and examples. It also details the 13 limbs of Vithi.
- Third Vivek: Discusses the four dramatic styles (Vritti), the nature and classification of Rasa, its application in poetry, resolving contradictions between rasas, defects in rasa, Sthayi Bhavas, 36 Vyabhichari Bhavas (transient emotional states), eight Anubhavas (consequents of emotions), and the four types of acting (Abhinaya: Vachika, Angika, Sattvika, and Aharya).
- Fourth Vivek: Presents general principles applicable to all dramatic forms. This includes the nature of the prologue (Nandi), types of prologues, classification of characters (male and female) into superior, middle, and inferior, characteristics of the chief hero and his eight qualities, the antagonist, supporting characters, the heroine and her classifications (Mugdha, Madhya, Pragalbha, Proshitapatika, Vipralabdha, etc.), the heroine's charming expressions (Hav-Bhava), and twenty types of ornaments (Alankaras) related to feminine beauty. It also covers the heroine's relationship with the hero, her attendants, appropriate language use by characters, addressing characters by name, and naming conventions. Finally, it discusses 13 additional dramatic forms beyond the initial twelve, such as Sattaka, Srigadita, Dumilita, Prasthana, Goshthi, Hallisaka, Shampa, Prekshanaka, Rasaka, Natya Rasaka, Kavya, Bhana, and Bhanika.

In conclusion, the article positions 'Natya Darpan' by Acharya Ramchandra-Gunachandra as a seminal work in Indian poetics, renowned for its innovative theories, comprehensive analysis of dramatic elements, and its role in preserving and expanding the rich tradition of Sanskrit drama.