Apbhramsa Ka Ek Acharchit Charit Kavya

Here is a comprehensive summary in English of the Jain text "Apbhramsa ka Ek Acharchit Charit kavya" by Devendra Kumar Jain, based on the provided pages:

Apbhramsa ka Ek Acharchit Charit kavya: A Summary

This text, authored by Dr. Devendra Kumar Jain, discusses an underrated Charit Kavya (biographical epic) composed in the Apabhramsa language. It highlights that Apabhramsa boasts a long tradition of such biographical epics, which evolved from earlier Prakrit mythological narratives. These works typically chronicle the life and development of great figures, adhering to a structured narrative and incorporating mythological elements, resulting in a similar literary structure across most such compositions.

The specific work under discussion is a significant creation, both in terms of its size and literary merit. It is titled "Shantinathcharit" and was composed by Mahindu (or Mahachandra). The entire epic is divided into 13 Sandhis (cantos).

The earliest known introduction to this previously unknown Apabhramsa biographical epic was provided by Pt. Parmanandji Shastri in his "Jain Granth Prashasti Sangrah." He described it as the 87th Prashasti, identifying its author as Mahindu or Mahachandra. The work contains 13 chapters (Parichhed) and is estimated to have approximately five thousand verses. It narrates the biography of Lord Shantinath, the sixteenth Tirthankara and a Chakravarti (universal emperor).

This biographical epic currently exists only in handwritten form and remains unpublished. The sole available manuscript is housed at the Shri Di. Jain Saraswati Bhandar in Dharmpura, Delhi, consisting of 153 folios.

Content and Structure of Shantinathcharit:

• Invocation: The epic begins with a Jina-namaskar (salutation to the Jinas), honoring all twenty-four Tirthankaras, followed by a prayer to Goddess Saraswati.
• Author's Humility and Inspiration: The poet expresses humility about his work, stating that he composed this life of Lord Shantinath after hearing it within Pushpadanta's Mahapurana. He acknowledges his "trivial intellect" and compares his composition to the expansion of ignorance. He further humbly states that he lacks knowledge of grammar, poetic rules (karta, karma, kriya), meters (jati), roots (dhatu), Sandhi, gender, and figures of speech. He even mentions not knowing the "Amarakosh" (Sanskrit lexicon) or "Pingala" (prosody).
• Praise of Predecessor Poets: Mahindu lists and praises numerous earlier poets, including: Akalanka Swami, Pujyapada, Indranandi, Shri Nemicandra Siddhantachakravarti, Chaturmukh, Swayambhu, Pushpadanta, Muni Yashahkirti, Pandit Raidhu, Gunabhadra Suri, and Sahanapala.
• Defense of his Composition: In response to a potential question about why an ignorant person would compose a poem, the poet uses a series of analogies. He argues that just as a firefly shines when the sun doesn't, or a cuckoo sings when a tit bird remains silent, or a tesu flower blooms even when a champaka does, his work has its own merit and purpose, even if it's not on the same level as the great poets. He encourages readers not to be angry and urges the reader to abandon cowardice and engage in devotion to the Jina.
• Author's Identity and Context: The poet provides limited personal information. It is revealed from the end of the Sandhis that he was the son of Illiraja. The final prashasti (epigraph) indicates he was from a village near Delhi. He composed this epic at the inspiration of a learned layman named Sadharan from Yoginipur (Delhi). At the time of its composition, Emperor Babur ruled the Delhi throne. The epic was completed in Vikram Samvat 1587 (1530 AD). The estimated length of approximately 5000 verses is considered conservative, as 13 Sandhis would likely entail more.

Synopsis of the 13 Sandhis:

1. Sandhi 1: Describes King Shrenik of Magadha and his queen Chellana. Shrenik attends Lord Mahavir's sermon and poses questions to the chief disciple, Gautama Gandhara. (12 Kadwaks)
2. Sandhi 2: Depicts Vijayarth mountain, the ascetic practices of Shri Arkakirti, and the removal of afflictions by Shri Vijayanaka. (21 Kadwaks)
3. Sandhi 3: Narrates the past lives (bhavavali) of Lord Shantinath. (23 Kadwaks)
4. Sandhi 4: Describes the birth of Balabhadra in a past life of Lord Shantinath. (26 Kadwaks)
5. Sandhi 5: Details the reign of Chakravarti Vajrayudha. (16 Kadwaks)
6. Sandhi 6: Focuses on Megharatha's adoration of the sixteen bhavanas (meditations) and his ascent to Sarvarthasiddhi. (25 Kadwaks)
7. Sandhi 7: Primarily describes the ceremonial bathing (janmabhishek) of Lord Shantinath. (25 Kadwaks)
8. Sandhi 8: Covers Lord Shantinath's attainment of Kevala Jnana (omniscience) and the subsequent glory of his Samavasarana (divine assembly). (26 Kadwaks)
9. Sandhi 9: Details Lord Shantinath's divine speech and teachings. (27 Kadwaks)
10. Sandhi 10: Provides a very brief account of the lives of sixty-three great men (Mahapurushas). (20 Kadwaks)
11. Sandhi 11: Extensively describes the geography of the three worlds, not just a specific region. (34 Kadwaks)
12. Sandhi 12: Relates the biography and virtuous conduct described by Lord Shantinath. (18 Kadwaks)
13. Sandhi 13: Narrates Lord Shantinath's departure to Nirvana (liberation). (17 Kadwaks)

Literary Significance and Artistic Merit:

• Traditional Theme: The epic's subject matter is mythological and follows a pattern common to most such religious compositions, with little novelty in the plot.
• Artistic and Stylistic Value: Despite the traditional theme, the poetic art and style make this work truly significant. It aligns with the characteristics of Apabhramsa biographical epics and is distinct from narrative poems. The evolving nature of Puranic literature is evident.
• Inclusion of Sanskrit Shlokas: Each Sandhi begins with Sanskrit verses, often in various meters, referred to as "Sadharan" (common).
• Use of Songs: Similar to other Apabhramsa Prabandha Kavyas (narrative poems with interwoven songs), this work also features songs interspersed within the ongoing narrative. These songs are noteworthy for several reasons.
• Emphasis on Stress Accent (Balāghāta): The author points out a characteristic trend in Apabhramsa songs, particularly the use of stress accent, which has not been widely studied. This stress, while not always prominent, is a notable feature.
• Rhythmic and Melodious Composition: The poetic compositions are integrated with musical rhythm and meter, offering a pleasing aesthetic.
• Suitability of Language and Emotion: The language is well-suited to the emotions it conveys. The language possesses the quality of Prasad (clarity and lucidity) and is contextually appropriate.
• Emotions and Rasa: The epic expresses Vira Rasa (heroic sentiment) with the force of anger when depicting conflict, and also incorporates other sentiments. However, the overall dominant Rasa is Shanta Rasa (peaceful sentiment).
• Vivid Descriptions: The poem contains several beautiful descriptions, including a detailed portrayal of the land of Magadha, highlighting its natural beauty, flora, fauna, and cultural vibrancy.
• War Scene Depiction: The text includes a passage describing a confrontation between Arkakirti and Meghavesvara, detailing the preparation for battle and the immediate aftermath, though the actual combat is briefly summarized. The author suggests that the narrative sometimes lacks dynamism due to the poet's adherence to pre-defined plot points.
• Folk Elements: The descriptions occasionally incorporate folk elements, such as rivers flowing like "unvirtuous women," villages close enough for a rooster to fly between them, lotuses resembling beautiful eyes, and the prosperity derived from cattle and dairy products.
• Ornate and Figurative Language: The composition is described as elegant and ornate, employing figures of speech.
• Linguistic Observations: The language exhibits a prevalence of verbs and verb forms (kridantas), indicating trends of the Hindi language period. Several new words are identified and exemplified.

Conclusion:

The author concludes that "Shantinathcharit" is a significant work due to its language (including stress accent, rhythmic patterns, and new vocabulary), its clear prose style (Prasad), and the integration of songs. The study also suggests that the tradition of Apabhramsa narrative poetry, including independent genres like biographical epics and narrative tales, remained unbroken until the sixth century. The author advocates for more scholarly attention to such works, particularly from a cultural perspective.