Apbhramsa Ke Khand Aur Muktak Kavyo Ki Visheshtaye

Here's a comprehensive summary of the provided Jain text, "Apbhramsa ke Khand aur Muktak Kavyo ki Visheshtaye" by Aditya Prachandiya, focusing on the characteristics of Khanda (Fragmentary/Sectional) and Muktak (Standalone) Kavyas in Apabhramsa:

The article highlights the significant place of Apabhramsa in Indian literature, identifying it as the final stage of Prakrit, flourishing from the 6th to the 11th century CE. Apabhramsa literature is rich with various forms, including Charu (biographies), Mahakavya (epic poems), Khandakavya (fragmentary/sectional poems), and Muktak Kavyas. This article specifically delves into the characteristics of Khanda and Muktak Kavyas in Apabhramsa.

Characteristics of Apabhramsa Khandakavyas:

Apabhramsa Khandakavyas, unlike Mahakavyas, do not depict the entire life of a hero but rather a specific part or aspect of it. Both Mahakavyas and Khandakavyas share the quality of presenting elegant and beautiful descriptions.

The author categorizes Apabhramsa Khandakavyas into three main types based on their thematic inspiration:

1. Purely Religious Khandakavyas: These primarily focus on the lives and stories of religious or mythological great figures. A significant number of such works exist in Apabhramsa. Examples cited include:

   • Nayukumara Charu by Pushpadanta: A nine-sandhi work that begins with a prayer to Saraswati and narrates the story of King Shrenik of Magadha and his encounter with Lord Mahavir, focusing on the significance of the Shrut Panchami vow.
   • Jashahar Charu by Pushpadanta: A four-sandhi Khandakavya retelling the well-known Jain story of Yashodhara.
   • Sudarsana Charu by Mayannandi: A twelve-sandhi Khandakavya where the poet seeks fame through his literary skills and narrates the story in the Padhadia meter, emphasizing the blessings of Jinavani (Jain scriptures).
   • Other notable religious Khandakavyas include Karakanda Charu (Muni Kanakāmar), Pashu Charu (Padakīrti), Pārśvanātha Charu (Śrīdhara), Sukūmāla Charu, Bhavisayattakahā (Dhanapāla – also discusses the Shrut Panchami vow), Sulochana Charu (Devasena), Sanatkumāra Charu (Haribhadra), Jindatta Charu (Lakkhana), Neminātha Charu (Lakhamdeva), Bahubali Charu (Dhanapati), Chandraprabha Charu (Yashakīrti), Sukoshala Charu, Pārśvanātha Charu, Dhanna Kumāra Charu (Raiḍhū), and Miganka Lekha Charu (Bhagavati Das).

   These religious Khandakavyas predominantly feature religious elements, even when dealing with romantic or heroic themes, which are often presented within a religious framework to promote religious sentiments.

2. Secular Khandakavyas inspired by worldly emotions: These are devoid of religious discourse and focus on worldly events and emotions. They serve as authentic records of society and depict human activities and various scenes vividly.

   • Sandeshāshaka by Śrī Addahamaṇa: This is highlighted as a successful Khandakavya and is unique as it was composed by a Muslim poet. It demonstrates the poet's deep understanding of Indian traditions and mastery of literary and poetic principles. Unlike other Khandakavyas, it's divided into three "Prakramas" (sections) instead of Sandhis. The first Prakrama is an introduction, the second contains the main narrative, and the third describes the six seasons.
   • Kirtilata by Vidyapati: This is identified as a historical biographical poem celebrating Kirtisingh, the poet's first patron. It's noted as a singular example of this type within Apabhramsa literature.

3. Khandakavyas focusing on Kings (Secular and Non-sectarian): These poems are free from religious or sectarian biases and focus on the character and valor of kings, praising them.

Characteristics of Apabhramsa Muktak Kavyas:

Alongside biographical and narrative poems, Apabhramsa also saw the creation of numerous Muktak Kavyas that, while sometimes referencing individuals, primarily focused on religious teachings and sermons. These works are largely influenced by Jainism, Buddhism, and the philosophies of the Siddhas.

Apabhramsa Muktak Kavyas can be broadly classified based on their subject matter:

• Religious Muktak Kavyas:

  • Jainism-based Muktak Kavyas: Most of these are spiritual works composed by Jain followers. They are characterized by their lack of religious narrow-mindedness, bigotry, or animosity towards other religions. The poets aimed to elevate human life through virtuous conduct and inner purity, emphasizing that the ultimate truth resides within the body and can be attained through its worship, leading to eternal happiness. These poets were often ascetics first and poets second, prioritizing emotional depth over artistic embellishment.
    • Notable spiritual works include Paramatma-Prakasha and Yogasara by Yogi Yugindr, which discuss the nature of the outer soul, inner soul, and the supreme soul, and emphasize meditation. Dohapahuda by Muni Ramsingh is another significant spiritual work that advocates for self-realization and the insignificance of ritualistic practices without inner experience and good conduct, stating that true happiness lies in self-control and meditation. Vairagyasara by Suprabhacharya is also mentioned.
  • Buddhism and Siddha-based Muktak Kavyas: These include didactic works for the general populace, focusing on ethics and moral conduct.
    • Shravaka Dharma Doha by Devasena provides a code of conduct for lay disciples (Shravakas) and householders, alongside spiritual discussions.
    • Upadesha Rasayana Rasa by Jinasuri emphasizes the importance of self-upliftment in human life.
    • Dvādasha Bhāvanā by Somaprabhacharya discusses the impermanence of the world.
    • Sanyama Manjari by Maheshwar Suri (35 Dohas) and Chundadi by Bhattarak Vinayachandra Muni (31 verses, urging to embrace a life colored by religious sentiments and good conduct) are also noted.

  Muktak Kavyas by Buddhist figures and Siddhas also exist, with collections of their Doha (couplets) and songs found in works like Rahul Sankrityayan's "Hindi Kavyadhara." These can be divided into:

  • Works propounding doctrines.
  • Works refuting ritualistic practices. While the artistic merit of Siddha poetry might be debated, their content holds lasting significance, inspiring individuals to move from misguided paths to the right path. Prominent Siddha poets include Saraha, Luipa, Kanha, and Shantipā.

• Literary Muktak Kavyas: These are based on everyday life events and customs. They often appear as wise sayings and aphorisms delivered by characters like Charanas and Gapas in narrative poems. Many such standalone verses are found in:

  • Literary works like Kālidāsa's Vikramorvaśīya, Hemachandra's Prakrit Vyākaraṇa, Somaprabhacharya's Kumārapāla Pratibodha, Merutunga's Prabandha Chintāmaṇi, and Rajashekhar's Prabandha Kosha.
  • Grammatical and rhetorical treatises such as Anandavardhana's Dhvanyaloka, Rudrata's Kāvyālaṅkāra, Bhoja's Sarasvatī Kaṇṭhābharaṇa, and Dhananjaya's Daśarūpaka.

  These verses cover themes of love, heroism, renunciation, ethics, nature, allegory, and mention of kings or historical figures. They possess poetic quality, rasa (aesthetic flavor), wonder, and the capacity to touch the heart.

Conclusion:

The article concludes by asserting that, in addition to Charita and Prabandha Kavyas, Apabhramsa Khanda and Muktak Kavyas are significant in terms of both emotion and art. The study of Apabhramsa literature is considered essential for the advancement of literature.