Apbhramsa Chariu Kavyo Ki Bhashik Samrachnaye

Here is a comprehensive summary in English of the provided Jain text, "Apbhramsa Chariu Kavyo ki Bhashik Samrachnaye" by Krushnakumar Sharma:

This study, "Apbhramsa Chariu Kavyo ki Bhashik Samrachnaye" (Linguistic Structures of Apabhramsa Charisma Kavyas) by Dr. Krushnakumar Sharma, analyzes the linguistic structures employed in Apabhramsa Charisma Kavyas (narrative poems, often biographical or didactic, central to Jain tradition). The author posits that these kavyas are not only significant for their narrative content, the author's religious perspective, and their message but also serve as exemplary demonstrations of artistic language use.

Key Arguments and Observations:

• The Role of the Motifs and Message: Every kavya carries a message, which can relate to any human faculty. To convey this message, the author seeks a "motif" (a recurring theme or idea). This motif provides meaning and controls the events of the story, fitting them within a context. The motif's events are filtered through the author's experiences and worldview. When multiple authors in a specific period and language are driven by similar perspectives, a single motif, with minor variations, tends to propagate across their works.

• Structural Sameness and Style Markers: The uniformity of motifs is reflected in the uniformity of linguistic structures. The repetition (aavartan) of linguistic structures is observed not only in a single author's work but also across different authors when they operate within similar contexts. This mutual dependence between context and structure is the basis of "style markers." The similarity of these style markers helps determine poetic trends.

• Analysis of Specific Contexts and Their Linguistic Structures: The study examines common contexts in Apabhramsa Charisma Kavyas and the linguistic structures used to express them.

  • Context 1: Arrival or Description of the Leader of the Order (Sanghadhipati) and the Description of the God/Lord: This is a recurring context in Apabhramsa kavyas. While the nuance of the narrative, imagery, and symbols might differ, the linguistic structure remains largely consistent.

    • Example from Paumachariu (Ritual Person + Phrase + Subject + Adjective Phrase + ... + Adjective Phrase): The author analyzes a passage describing a group of sages, identifying a specific structure involving verb-adjective phrases and subject-adjective phrases.
    • Example from Jambuswamichariu (Ritual Person + Phrase + Adjective Phrase + Adjective Phrase): Another passage describing a divine being is analyzed, highlighting the repetition of adjective phrases, emphasizing the layering of the special qualities of the subject. The author notes that the difference lies in the inclusion of a subject phrase.
    • Example from Nayakumara Charita (Describing Saraswati): This showcases the "wonder of repetition" in linguistic structures.
    • Example from Karakandu Charita (Description of Muni Shila): The repetition of the "Jasu..." structure is highlighted.
    • Example from Mayana Parajaya: The author notes the repetition of linguistic structures, including morphological elements (rupims), demonstrating a characteristic feature of Apabhramsa Charisma Kavyas, especially in descriptive passages. This structural repetition serves as a style marker.

  • Context 2: Renunciation (Vairagya Bhava): The description of renunciation is an essential context. The common motifs include the abundance of suffering, the harshness of the mortal world, the bondage of worldly pleasures, and the insignificance of happiness.

    • Examples from Paumachariu and Karakandu Charita: The study points out the comparative use of "madhu-bindu" (drop of honey) for pleasure and "Meru" (mountain) or "ocean" for sorrow. "Madhu-bindu" is identified as a narrative convention (kathanak rudhi) in Apabhramsa kavyas, often used with an obligatory simile-forming morphological element (upama-suchak rupim). This simile structure becomes contextually bound.

  • Context 3: Recollection of Past Lives (Puranjanma ka Smaran): The recollection of past lives leading to spiritual knowledge is a common theme.

    • Example from Paumachariu (Bhamandal's past life): The passage shows the use of morphological elements related to past actions and the repetition of the word "bhavantara" (previous existence).
    • Example from Jambuswamichariu (Sagarchand's past life): Similar patterns of morphological repetition and the word "bhavantara" are observed. This context is also considered a representative motif of Apabhramsa Charisma Kavyas.

• The Role of Linguistic Structures in Expressing Emotion and Observation:

  • Expressing Enthusiasm and Wonder: The author highlights the use of specific structures to convey the poet's emotional response to beauty. For instance, in Jambuswamichariu, the beauty of moonlight inspires the poet, and this feeling is expressed through the repetitive "Ki..." structure, indicating the poet's awe.
  • Use of Simile Structures: In Karakandu Charita, the "Nano..." (as if) structure is frequently used, indicating a tendency for simile structures in descriptive passages of Apabhramsa kavyas.
  • Mid-Branching of Phrases: In Nayakumara Charita, the poet engages in "mid-branching" of phrases within a clause, using multiple adverbial phrases to depict swift changes or actions vividly. The selection of vocabulary and the uniform structure in these phrases further demonstrate this characteristic.
  • Repetition for Expressing Emotion: In Mayana Parajaya, the "Ghadahadai Kadahadai..." structure demonstrates the repetition of phrases to express heightened emotions.
  • Repetitive Question Structures: The text notes that in Mayana Parajaya, a repetitive question structure ("Ko..." - Who?) is used to express the impossibility of certain actions or the foolishness of characters. This structure is used to emphasize the inability or lack of participation in specific deeds.

• Interconnectedness of Motifs and Structures: While a single structure might be used for different themes, these themes are often interconnected by a common event. The "Jaim... Tim..." (as... then...) structure in Mayana Parajaya illustrates the rapid cause-and-effect relationship or simile. The author concludes that Apabhramsa poets generally employ repetitive structures. This habitual and repetitive use of the linguistic apparatus is identified as "style."

• Influence on Later Prose Structures: The author also notes that these Apabhramsa structures provide a clear indication of the prose structures that developed later.

• Types of Frequently Repeated Structures: The study identifies several commonly recurring structures in Apabhramsa Charisma Kavyas:

  1. Alankarik (Ornamental) Structures in Descriptions: Characterized by "Nan" + subject + verb/verb phrase + object + verb + adjective phrase. These structures convey the poet's awe inspired by beauty.
  2. "Kim..." Structures: These indicate the speaker's confusion or wonder, often involving multiple subordinate clauses (upama) for a single subject.
  3. Structures Revealing New Characteristics: Characterized by adverb + verb + subject + adjective phrase + adjective phrase. These structures progressively reveal previously unknown traits of a known subject.
  4. Structures with Multiple Adjective Phrases: Characterized by adjective phrase + adjective phrase + subject + verb.
  5. Question Structures ("Ko..."): These often have a negative implication or point to the character's foolishness, using the structure "Who... + object + verb?"
  6. "Jaim... Tim..." Structures: Indicating cause-and-effect or simile.
  7. Structures with Repeated Adjective Clauses: Adjective clause + ... + Adjective clause + ... + Subject + ... + Verb.
  8. Conjoined Short Clauses: Including structures like "Subject + auxiliary verb" (Ko hau) and "Object + verb" (e.g., Jiviu dhigatthu - cursed be life).

Conclusion:

The study argues that analyzing these structures not only reveals the distinctiveness of the subject matter in Apabhramsa Charisma Kavyas but also illuminates the author's mindset. It suggests that a comprehensive study of these structures, in relation to their contexts and patterns of repetition, could provide a new direction for Apabhramsa poetry research, help uncover structures that influenced later poetry, and clarify the extent of Sanskrit stylistic influence. Ultimately, it emphasizes that basing the analysis on linguistic material will lead to a more objective understanding of Apabhramsa poetry.