Anjana Pavananjaynatakam

Here's a comprehensive summary of the Jain text "Anjana Pawananjaya Natakam," based on the provided pages:

Book Title: Anjana Pawananjaya Natakam (अञ्जना पवनञ्जय नाटकम्) Author: Hastimalla Chakravarti Kavi (हस्तिमल्ल चक्रवर्ती कवि) Translator (Hindi): Dr. Rameshchandra Jain, M.A., Ph.D., D.Litt., Jainadarshanacharya Publisher: Gyansagar Vagarth Vimarsh Kendra, Byavar ISBN: 81-87382

Overall Context and Publisher's Note (Pages 1-3):

The publication of this text is attributed to the "Gyansagar Vagarth Vimarsh Kendra Byavar," an institution dedicated to promoting Jain literature and knowledge. The publisher's note highlights the rich intellectual heritage of India and the significant contributions of Jain Acharyas in preserving and disseminating spiritual and philosophical wisdom. It emphasizes the need for greater efforts in publishing and studying the vast, often unpublished, Jain literary corpus. The establishment of this Kendra, named after Acharya Gyansagar, is a direct response to this need. The Kendra aims to publish Jain scriptures, critically evaluate Acharya Gyansagar's works, and provide research scholarships to students. This specific book, "Anjana Pawananjaya Natakam," is presented as the fifth publication of the Kendra, translated into simple, modern Hindi.

Author and Work Overview (Page 4):

• Author Hastimalla: Hastimalla is recognized as a prominent figure in composing Sanskrit dramas based on Digambara Jain historical narratives. He is known to have written several dramas, but only four are currently available: Maithili Kalyana, Vikranta Kaurava, Anjana Pawananjaya, and Subhadra (a shorter play or natika). Other plays like Arjunaraja Nataka, Bharataraaja, and Megheshwara are also mentioned, with a note that some might be attributed to Hastimalla-sena, whose identity is not fully established.
• Hastimalla's Scholarship: He was a learned scholar in both Kannada and Sanskrit, referring to himself as "Ubhayabhashakavi Chakravarti" (Emperor of Poets in Both Languages).
• Hastimalla's Time Period: Determining Hastimalla's exact time period is complex. Scholars place him anywhere from pre-9th century CE (based on his potential use of Acharya Jinasena's Adipurana) to the 14th century CE (due to mentions by later scholars like Ayyaparya). Some estimates place his birth around 1160 CE. The debate centers on references in various texts and the chronological placement of his works.
• Hastimalla's Lineage and Name: He was the son of Govinda Bhatta, who was a Vatsagotra Brahmin. Govinda Bhatta converted to Jainism after hearing the Devagama Stotra of Samantabhadra. Hastimalla was one of six scholarly sons. The name "Hastimalla" itself is believed to have been an honorific title earned by subduing a wild elephant, rather than his birth name. However, a counter-argument suggests the name might refer to his victory over intellectual opponents in debates, like subduing "elephants" (opponents). He was a householder and not a monk.
• Location: Hastimalla resided in Karnataka, specifically mentioning "Santragama" which was rich in Jain temples. This place is likely Hummacha.

The Play: Anjana Pawananjaya Natakam (Pages 7-73):

The summary provides a detailed act-by-act breakdown of the play's plot. The play is based on the story of Anjana and Pawananjaya, the parents of Hanuman.

• Act 1: The Swamyavara (Page 7-25):

  • The play opens with preparations for Princess Anjana's swayamvara (choice of groom) in Mahendrapur.
  • Pawananjaya, prince of the Vidyadhara kingdom of Adityapura, is in love with Anjana, whom he saw earlier.
  • Anjana, along with her companions Vasantasena and others, discusses the upcoming swayamvara.
  • A playful mock swayamvara occurs where Vasantasena crowns Pawananjaya, who is acting as Anjana.
  • Pawananjaya, with his jester (Vidushaka), interrupts the scene and reveals his love for Anjana.
  • The act details Pawananjaya's growing affection for Anjana after seeing her in a garden.

• Act 2: Marriage and Departure for War (Page 7-33):

  • Anjana chooses Pawananjaya as her husband at the swayamvara.
  • After the marriage, Anjana and her companions travel to Adityapura, Pawananjaya's father's capital.
  • Pawananjaya and Anjana have a romantic interlude.
  • Pawananjaya learns from his minister, Vijayasharman, that his father, King Prahlad, is going to war against Varuna, the king of Lanka (Ravana's enemy).
  • Pawananjaya initially is asked to defend the capital but ultimately decides to join the war against Varuna.

• Act 3: War and Longing (Page 34-40):

  • The war against Varuna has been ongoing for four months. Pawananjaya is fighting strategically, concerned for the lives of Ravana's captured commanders.
  • Pawananjaya, resting by the river Kumudvati, is reminded of Anjana by seeing a lovelorn female chakravaka bird. He resolves to visit Anjana secretly on Vijayardha mountain.
  • He visits Anjana, spends the night, and returns to the battlefield.

• Act 4: Pregnancy and Exile (Page 41-46):

  • Four months have passed since Pawananjaya's secret visit, and Anjana is showing signs of pregnancy.
  • Anjana and her friend Vasantamala worry about the reaction of Pawananjaya's mother, Ketumati.
  • Ketumati, disbelieving Pawananjaya's visit, banishes Anjana to her father, King Mahendra.
  • Anjana, disguised by a sadhana (religious ritual), doesn't go to her father but descends into a forest region. She instructs her escort, Krura Bhairava, to tell her father she was left in Mahendrapur.

• Act 5: Separation and Search (Page 47-63):

  • Pawananjaya defeats Varuna and frees Ravana's commanders, Khar and Dushana. He makes peace with Varuna and returns to Vijayardha.
  • He learns from his attendant Yuktimati that Anjana is pregnant and has gone to Mahendrapur.
  • Pawananjaya, concerned, sets out for Mahendrapur on his elephant, Kalamegha.
  • On the way, they stop by a lake. A forest dweller and his wife (Lavlikā) inform them that Anjana and Vasantamala left Mahendrapur and entered the Matangalini forest, accompanied by a fearsome-looking person (Krura Bhairava), as per Ketumati's instructions.
  • Hearing this, Pawananjaya faints. Upon regaining consciousness, he laments Anjana's fate and enters the Matangalini forest to search for her, sending his jester back toVijayardha for help.

• Act 6: Reunion and Birth of Hanuman (Page 64-72):

  • Gandharva king Manichuda and his wife Ratnachuda are informed that Anjana is under their protection and has given birth to a son. Anjana is distressed by separation from her husband.
  • A frantic Pawananjaya searches the forest for Anjana, speaking to trees and animals.
  • Pratisurya, sent by Prahlad to find Pawananjaya, finds him in deep meditation. Pratisurya realizes only Anjana can bring him back to his senses.
  • Pratisurya brings Anjana and Vasantamala to Pawananjaya. They are reunited.
  • Pawananjaya is informed by Vasantamala that his son, Hanuman, was born in Manichuda's protection at Hanurūha island and that Pratisurya brought Anjana and Vasantamala to meet him.
  • Pawananjaya meets Pratisurya, who narrates Anjana's harrowing experiences, including her suffering in the forest, encounters with a lion, and the birth of Hanuman. He explains how Manichuda and Ratnachuda helped her.
  • Pratisurya recounts the incident where the infant Hanuman fell from the chariot but was miraculously saved.

• Act 7: Coronation and Resolution (Page 73-74):

  • The play culminates with Hanuman being presented to Pawananjaya.
  • Pawananjaya is about to be coronated as Yuvaraja.
  • The final act brings all the characters together, celebrating the reunion and the birth of Hanuman.
  • The play concludes with prayers for peace, prosperity, the spread of Jain dharma, and the flourishing of poetry.

Key Themes and Significance:

• Love and Devotion: The central theme revolves around the enduring love between Anjana and Pawananjaya, enduring separation, hardship, and deception.
• Destiny and Karma: The play touches upon the concept of karma and destiny, particularly through the explanation of Anjana's suffering as a result of past actions.
• Vidyadhara Culture: It depicts the life and customs of the Vidyadhara (celestial beings) race, their kingdoms, and their valor.
• Heroism and Duty: Pawananjaya's character exemplifies heroism, duty towards his kingdom, and commitment to his love.
• Jain Philosophy: The publication and the play itself are presented within the broader context of promoting Jain teachings and literature. The text subtly weaves in spiritual elements, as seen in the reverence for Munis and the underlying ethical framework.
• Literary Merit: Hastimalla's mastery of Sanskrit drama is highlighted, with mentions of his use of various meters and the integration of Prakrit for character dialogue, a common practice in Sanskrit plays. The play is praised for its elegant language, rich imagery, and emotional depth.

"Sukti Vaibhav" (Collection of Maxims) (Page 74 onwards):

The text includes a section listing notable maxims and verses (suktis) from each act of the play, showcasing the poetic and philosophical insights of Hastimalla. These maxims cover themes of the nature of poetry, love, destiny, duty, and moral conduct.