Apbhramsa Ke Prabandh Kavya

Here's a comprehensive summary of the provided Jain text, "Apbhramsa ke Prabandh Kavya" by Prem Suman Jain, focusing on the nature and types of Apbhramsa Prabandh Kavyas:

The text discusses the nature, development, and classifications of Prabandh Kavyas (narrative poems) in the Apbhramsa language. It notes that while the exact starting point of Apbhramsa poetry is unclear due to the lack of early surviving works, poets like Gobind and Chaturmukh are considered ancient, with Swayambhu and MahaKavi Dhaval acknowledging them. This suggests that Apbhramsa poetic composition began as early as the 6th century CE, with a developed tradition by the 7th century CE, as evidenced by Swayambhu's mature works. The author posits that Apbhramsa poetry evolved from the older traditions of Prakrit literature.

Apbhramsa literature comprises approximately 150 known works, with ongoing efforts in their editing and publication. These works are categorized into various genres, including Prabandh Kavya, Khand Kavya (shorter narrative poems), Muktaka Kavya (lyrical poems), Sandhi Kavya, Rasa, and Charchari. However, the author simplifies this categorization into Prabandh Kavya and Muktaka Kavya based on their subject matter and internal structure. The primary focus of this text is the analysis of Apbhramsa Prabandh Kavyas.

What is a Prabandh Kavya?

A Prabandh Kavya is defined as a "bound" or structured poem. It typically features a mythological, historical, or well-known folk tale, narrated chronologically by the poet. All events within the narrative are interconnected and mutually dependent, contributing to the progression of the story. Subplots are intricately woven into the main narrative to gradually reveal the protagonist's character. The entire story is divided into sections such as Sarga, Ashvasa, or Sandhi. Prabandh Kavyas can further be classified as Mahakavya (epic poems) or Khand Kavya, both of which express different aspects of life and are considered forms of Prabandh Kavya.

Influence and Characteristics:

Apbhramsa Prabandh Kavyas are influenced by the long traditions of Sanskrit and Prakrit literature, with a direct impact from Prakrit. Unlike Sanskrit, Apbhramsa did not develop a tradition of purely Mahakavyas in a classical style, possibly due to its status as a vernacular language.

Based on certain defining characteristics, Apbhramsa Prabandh Kavyas are broadly classified into three types:

1. Mythological Prabandh Kavyas (पौराणिक प्रबन्धकाव्य): These works are based on mythological narratives, often detailing the lives of Salaka Purushas (illustrious figures in Jain tradition). Key examples include:

   • Harivansha Purana (Ritthnemichariu) by Swayambhu.
   • Harivansha Purana by MahaKavi Dhaval (unpublished).
   • Mahapurana by Pushpadanta, covering the lives of the 24 Tirthankaras, Rama, and Krishna.
   • Pandava Purana by Yashahkirti.
   • Harivansha Purana by Shrutkirti.
   • Paumchariu by Swayambhu, focusing on the story of Rama.

   Common characteristics of these mythological Prabandh Kavyas include:

   • Invocation of Tirthankaras at the beginning.
   • Remembrance of previous poets and scholars.
   • Demonstration of humility.
   • Statement of the goal of composition and the importance of the subject.
   • Descriptions of good and evil characters.
   • Self-introduction of the author.
   • Use of listener-speaker dialogue.
   • Descriptions of Samavasarana (a divine assembly) where Gautama Ganadhara or Mahavir narrates a story in response to King Shrenika's questions.
   • Inclusion of mythological or religious conventions like creation descriptions, societal divisions, exposition of dharma, philosophical debates, inclusion of supernatural elements, recollection of past lives, and dream interpretations. Deities, Yakshas, Gandharvas, Vidyadharas, Nagas, Rakshasas, and folk tales are often incorporated. These works blend religion, narrative, and poetry.

2. Religious Prabandh Kavyas (धार्मिक प्रबन्धकाव्य): These works prioritize religious themes over pure mythology or fiction. They often consist of biographies of religious heroes or expound specific Jain vows and principles. Notable examples include:

   • Jashahar Charit by Pushpadanta, which emphasizes the sin of violence against living beings, illustrated through the life of King Yashodhara across multiple lifetimes.
   • Nayakumar Charit by Pushpadanta, narrating the story of Prince Nayakumar, who faces exile due to his stepbrother's malice, demonstrates valor and skill, and ultimately attains liberation through initiation. The author suggests this is a variation of the Rama story.
   • Jambusamichariu by Veer, a prominent religious Prabandh Kavya with epic qualities, a lengthy and intricate narrative, and subplots. It depicts the renunciation of Jambu, a merchant's son, despite his betrothal, and his eventual attainment of liberation after a conversation with his four brides.

   Other significant religious Prabandh Kavyas include Sundarshan Charit (Nayanandi), Karakandu Charit (Kanakaamar), Jindatta Charit (Lakshman), and Siddhachakra Mahakavya (RaiDhu). These works showcase diversity in descriptions, ornaments, meters, and rasa (aesthetic sentiment). The text provides illustrative examples of poetic descriptions from these works.

3. Romantic/Thrilling Prabandh Kavyas (रोमांच प्रबन्ध काव्य): These Prabandh Kavyas are more inspired by folk traditions, characterized by imagination and thrilling elements. They use exaggeration to enhance the protagonist's character and draw from both folk tales and the romantic narratives found in Prakrit literature, such as Padaliptasuri's Tarangavati Katha, Lilavati, SuraSundari Charitra, and Ratnashekhar Katha.

   Distinctive features of these Apbhramsa narrative poems include:

   • A focus on romantic love affairs (Premakhyan).
   • Inclusion of adventurous descriptions.
   • Narratives of longing, attempts at union, suffering during separation, serendipitous meetings, renewed separations, and eventual triumph over adversity.

   Key romantic Prabandh Kavyas are:

   • Vilasa Vati Katha (Sadharan Siddhasen).
   • Jindatta Katha (Lakhu).
   • Paum Sripaumcharu (Dhahil), described as highly refined and a "Karnarasayan Dharmakatha," depicting the situation of a wealthy widow's daughter.
   • Jindatta Chaupai (Rallh).
   • Sudarshan Charit (Nayanandi).
   • Sudarshan Charitra (Manikyanandi), focusing on the story of the merchant Sudarshan with an engaging style and a poignant portrayal of a passionate lover's internal conflict.
   • Shripal Katha (RaiDhu).
   • Bhavisayattakaha (Dhanpal), considered significant for several reasons, including its expression of the glory of the Shrutpanchami vow, its inherently secular spirit, and Dhanpal's pioneering introduction of the folk hero tradition in Apbhramsa. The story of Bhavisayadatta's travels is rich with events and detailed descriptions, with widespread use of poetic devices, particularly similes. The text provides evocative examples of descriptions from this work.

   The author Dahil is noted for his natural descriptions and vivid portrayals of nature and human character. The depiction of Yashomati's sorrow in separation is highlighted.

   These Apbhramsa Prabandh Kavyas not only offer unique depictions of love and nature but also include vivid descriptions of the ferocity of war and the terror of cremation grounds. They frequently touch upon the transience of the world, with numerous metaphors for the impermanence of the body.

Impact on Later Literature:

The text concludes by emphasizing that Apbhramsa Prabandh Kavyas deserve independent study from a stylistic perspective. Their detailed examination reveals that the seeds of the Premakhyan (romantic narrative) tradition that later solidified in Hindi poetry were sown and sprouted in Apbhramsa poetry. The symbolic language previously attributed as an original innovation of Sufi poetry is, in fact, a legacy of the symbolic methods found in Apbhramsa romantic narratives. The style and craftsmanship of Hindi Prabandh Kavyas have also drawn heavily from Apbhramsa works, developing them in new contexts.