Alankar Chintamani Ma Nirupit Mahakavya Na Varna Vishayo

Here's a comprehensive summary in English of the provided Jain text, focusing on the themes discussed in "Alankar Chintamani ma Nirupit Mahakavya na Varna Vishayo" by Parul Mankad:

This article, "The Subjects of Description in Mahakavya as Elaborated in Alankar Chintamani," by Parul Mankad, delves into the detailed framework for describing Mahakavyas (epic poems) as presented by Acharya Ajitasena in his work, Alankar Chintamani (also known as Bharatayashas, dating from the 15th century CE). The author highlights that Ajitasena's work bears significant resemblance to Vidyanatha's Prataparudrayashobhushana and shares many verses with Amarchandra's Kavyakalpalata (mid-13th century CE).

The article begins by acknowledging previous discussions on the subject matter expected in Mahakavyas by classical Sanskrit theorists like Bhamaha, Dandin, Vamana, and Rudrata. While these earlier scholars outlined general characteristics like being divided into cantos (sargas) and mentioning elements such as seasons, battles, and sunrises, Ajitasena's contribution is characterized by his systematic and exhaustive approach to detailing these descriptive subjects.

Key Contributions and Characteristics of Ajitasena's Framework:

• Clear Structure and Detail: Ajitasena dedicates a significant portion of his work (verses 24 to 68) to a detailed exposition of Mahakavya subjects, following an initial discussion on the nature, purpose, and causes of poetry.
• Introduction of Novelty based on Jain Literature: A significant aspect of Ajitasena's work is his introduction of new elements derived from Jain Prakrit and Sanskrit literature. Notably, he includes the "Janmakalyanak" (birth ceremony of Tirthankaras) as an essential component of a Mahakavya, a concept not typically found in earlier non-Jain Sanskrit poetics. This reflects his awareness of Jain biographical epics.
• Emphasis on the Royal Family: Ajitasena places considerable importance on the depiction of the king and the chief queen (Pattarani). He outlines the members of the royal family to be described: the king, the queen, the royal priest, the lineage (kula), the eldest son (Yuvraj), the minister (Amatya), and the commander (Senapati).
• Detailed Virtues of Key Figures:
  • King: Described as possessing virtues like fame, valor, obedience, control over vices, diplomacy, military strategy, expertise in arms, political acumen, forgiveness, love for Dharma, compassion, concern for subjects, ambition for conquest, generosity, seriousness, and adherence to Dharma, Artha, and Kama.
  • Chief Queen: Her description includes modesty, humility, virtuous conduct, love, intelligence, amiability, beauty, sweet speech, compassion, elegance, good fortune, dignity, and a detailed nakhshikha (toe-to-head) description of her physical attributes.
  • Royal Priest: Should be knowledgeable in astrology, omens, and physiognomy, straightforward, capable of averting calamities, truthful, and pure.
  • Prince: Needs to be loyal, handsome, skilled in arts, strong, humble, learned in scriptures and weaponry, and possess attractive physical features.
  • Minister: Should be pure, forgiving, brave, humble, intelligent, loyal, well-versed in political science (like Anvikshiki), expert in conduct, and supportive of domestic industries.
  • Commander: Must be fearless, proficient in weapons and their use, loyal to the state and king, difficult to defeat, intelligent, and victorious in battle.
• Descriptions of the Natural World and Settings: Ajitasena details the elements of the physical world that enrich a Mahakavya:
  • Country (Desha): Gems, rivers, gold, grain stores, land, villages, forts, people, rivers, and canals.
  • Village (Grama): Food, lakes, creepers, trees, cattle, their activities, the simplicity of villagers, water wheels, and cultivated fields.
  • City (Nagara): Walls, ramparts, towers, moats, gates, flags, mansions, main roads, step-wells, gardens, and Jain temples (Jinalaya).
  • Lake (Sarovar): Lotuses, waves, boats, elephant sports, swans, chakravakas, bees, water, and garden creepers.
  • Ocean (Samudra): Corals, jewels, pearls, waves, boats, crocodiles, river confluences, moonrise-induced joy, black lotuses, and roars.
  • River (Nadi): Its confluence with the ocean, pairs of swans, fish, lotuses, birds, bankside creepers, and flowering plants.
  • Garden (Udyana): Flower buds, blossoms, fruits, creepers, artificial hills, cuckoos, bees, peacocks, chakravakas, and the pleasures of travelers.
  • Mountain (Parvata): Peaks, caves, gems, forests, kinnaras, waterfalls, metals, ascetics residing on peaks, bamboo, and abundant flowers.
  • Forest (Vana): Snakes, monkeys, lions, tigers, boars, deer, bears, owls, groves, termite mounds, and mountains.
• Descriptions Related to Royal Activities and Life:
  • Counsel (Mantra): Encompasses strategies for starting an endeavor, wealth of men and materials, opportune time and place, counter-measures, and achievement of goals; also covers the four means (Sama, Dana, Danda, Bheda), three powers (Prabhava, Utsaha, Mantra), and skill and policy.
  • Envoy (Duta): Describing the envoy's skill, the wealth and faults of both parties, and the artfulness of speech.
  • Journey/Expedition (Prayana): Dust rising from hooves, sounds of instruments, fluttering flags, trembling earth, chariots, elephants, and the movement of the army.
  • Hunting (Mrigaya): Ajitasena suggests that hunting descriptions can be used metaphorically to evoke fear and dispassion towards the worldly existence.
  • Horses (Ashva): Speed, auspicious marks, gaits, breeds (Baltic, Kamboj, etc.).
  • Elephants (Hasti): Their strength in breaking enemy formations, their foreheads, pearls from their temples, rut, and the bees attracted to the rut.
  • Seasons (Ritu): Detailed descriptions for Spring (Vasanta), Summer (Nidagha), Monsoon (Varsha), Autumn (Sharad), Winter (Hemanta), and Dewy Season (Shishira), including their specific flora, fauna, and atmospheric conditions.
  • Sun (Surya): Its rays, blooming lotuses, joy of chakravakas, darkness, stars, moon, lamps, and the distress of unfaithful women.
  • Moon (Chandra): Moonrise, clouds, unfaithful women, chakravakas, thieves, darkness, the sadness of separated lovers, brightness of moonlight, and the joy of oceans, lotuses, and moonstones.
  • Hermitage (Ashrama): Peacefulness of animals like lions, elephants, and deer in the presence of sages, availability of fruits and flowers, and worship of the deity.
  • War (Yuddha): Sounds of drums, glint of swords, drawing bowstrings, broken umbrellas, pierced armor, elephants, chariots, and soldiers.
  • Marriage (Vivaha): Bathing, adornment, beautiful songs, wedding pavilion, altar, drama, dance, and musical sounds.
  • Separation (Viraha): Hot sighs, mental anguish, physical weakness, feeling heat in winter, long nights, wakefulness, and absence of laughter and joy.
  • Intimacy (Surata): Sounds of fingernails, teeth marks, waist ornaments, bracelets, and anklets.
  • Swayamvara (Bride's Choice of Husband): Beautiful drums, platforms, pavilions, the bride, and the lineage, fame, wealth, and appearance of the attending kings.
  • Drinking (Madira-pana/Surapana): Ajitasena notes that great men do not drink wine, implying a cautionary stance.
  • Gathering Flowers (Pushpavance): Witty remarks, body adornment, embraces, and mutual glances.
  • Water Sports (Jalakrida): Agitation of water, departure of swans and chakravakas, slipping of ornaments, water droplets, and fatigue from play.

Comparison with Other Scholars and Influence:

The article draws parallels between Ajitasena and earlier theorists like Bhamaha and Dandin, noting that Ajitasena's work is more detailed. It also highlights the significant influence of Amarchandra's Kavyakalpalata on Ajitasena's Alankar Chintamani. Similarities in themes and specific descriptions are pointed out, suggesting either direct influence or a common source. While both authors cover similar ground, Amarchandra sometimes offers more intricate details, particularly regarding ministers and vice-ministers, and introduces concepts like the "emptiness" of enemy cities after victory and the description of deities from foot to head.

Jain Specificity:

The inclusion of "Janmakalyanak" is identified as a uniquely Jain contribution by Ajitasena, reflecting the influence of Jain narrative traditions. The mention of Jinalaya (Jain temples) in city descriptions and the subtle prohibition of wine in madira-pana are also noted as Jain-centric elements.

Omissions:

The article points out a significant omission in Ajitasena's work: the lack of mention of the essential structural elements of a Mahakavya like sargabandha (division into cantos) and panchasandhis (the five junctures of the plot).

Conclusion:

In essence, Parul Mankad's article emphasizes that Ajitasena, through his Alankar Chintamani, provides a comprehensive and detailed guide to the descriptive subjects of Mahakavya. His systematic approach, enrichment with Jain literary elements, and meticulous detailing of various aspects of royal life, nature, and human activities make his work a valuable resource for aspiring poets. While acknowledging influences from earlier scholars and contemporaries like Amarchandra, Ajitasena's unique contributions, particularly the integration of Jain traditions, set his work apart.