Apbhramsa Me Mahakavi Swayambhu

Here's a comprehensive summary of the provided Jain text about Mahakavi Swayambhu:

Mahakavi Swayambhu: Personality and Literary Works

This text, "Apbhramsa me Mahakavi Swayambhu" by Sagarmal Jain, focuses on the life, literary contributions, and sectarian affiliation of Mahakavi Swayambhu, a prominent poet in Apabhramsa literature.

Swayambhu's Standing and Identity:

• High Esteem: Swayambhu is highly regarded, with Pushpadanta, another significant poet, placing him on par with literary giants like Vyasa, Bhasa, Kalidasa, Bharavi, and Bana. He was also honored with titles such as 'Mahakavi', 'Kaviraj', and 'Kavi Chakravarti'.
• Limited Biographical Information: Despite his literary stature, very little is known about Swayambhu's personal life, including his birthplace, lineage, traditions, or specific dates.
• Family: We know he had a son named Tribhuvanaswayambhu, who completed his father's unfinished works. His parents were Marutdeva and Padmani, with his mother being described as beautiful as a lotus. He was married twice, to Amritamba and Adityamba, and a third wife, Suamba, is also speculated.
• Sectarian Affiliation: While his family names might suggest a connection to Shaivism or Vaishnavism, the author strongly argues for his belonging to the Jain tradition, specifically the Yapaniya sect. This is supported by:
  • His adherence to the Jain Ramayana tradition (Vimalasuri and Ravishana) rather than the Valmiki Ramayana.
  • His composition of Ritthanemichariu, a Jain narrative.
  • A commentary on Pushpadanta's Mahapurana explicitly identifying him as "Aapliyavighiya" (Yapaniya-sanghiya).
  • His religious tolerance and intellectual broad-mindedness, characteristic of the Yapaniya sect.
  • His following of Ravishana's tradition, who is also considered Yapaniya.
  • His respectful mention of poets from other traditions, a trait found in Yapaniya practice.
  • His acceptance of the concept of liberation for those outside his immediate sect, a common belief among Shvetambaras and Yapaniyas.
  • The acceptance of the Uttaradhyayana Sutra, which mentions liberation for those in different orders, by the Yapaniyas.
  • Specific points in his works, such as calling Rama by the name "Padma" (contrary to Digambara tradition), the narrative of Krishna's birth as found in Shvetambara traditions (Antakritadasha), and the concept of deities consuming food (contrary to the Digambara belief in mental sustenance for deities).
  • The influence of the Yapaniya sect in Northwest Karnataka, a likely region of Swayambhu's residence.
  • The Yapaniya sect's intellectual and syncretic nature aligning with Swayambhu's broader outlook.

Swayambhu's Time Period:

• Swayambhu's works mention poets like Bana, Shriharsha, and Ravishana. Since Ravishana's Padmacharita was composed around 677 CE, Swayambhu must have lived after this date.
• Pushpadanta mentions Swayambhu as a predecessor in his Mahapurana, composed around 960 CE.
• This places Swayambhu's lifetime between 677 CE and 960 CE.
• His mention of Ravishana and the absence of mention of Jinasena (whose Harivanshapurana dates to 783 CE) suggests he lived before Jinasena, potentially between 677 CE and 783 CE.
• Crucially, Swayambhu mentions the Rashtrakuta king Dhruva's feudatory Dhananjaya as his patron in the Vidyadhara Kanda of Paumachariu. Since Dhruva reigned from 780 CE to 794 CE, Swayambhu was likely his contemporary.
• Therefore, the most probable period for Swayambhu's life is the latter half of the 8th century and the first half of the 9th century CE (approximately 751 to 850 CE).

Swayambhu's Literary Works:

• Paumachariu (Ramayana): This is considered Swayambhu's most important work, comparable in significance in Apabhramsa literature to Tulsidas's Ramayana in Hindi literature. It is a Jain Ramayana that draws heavily from Vimalasuri's Paumachariyam (in Prakrit) and Ravishana's Padmacharita (in Sanskrit).
  • It is divided into five Kandas: Vidyadhara, Ayodhya, Sundara, Yuddha, and Uttara Kanda.
  • Swayambhu composed 82 out of 90 Sandhis (chapters), with the last 7 completed by his son Tribhuvanaswayambhu. Sandhi 83 appears to be a joint effort.
• Ritthanemichariu (Harivanshapurana): This work narrates the story of the 22nd Tirthankara Arishtanemi, along with the tales of Krishna and the Kauravas and Pandavas.
• Other Works (currently unavailable):
  • Swayambhu Chhanda (Prosody)
  • Suvvachariu
  • Siripanchamichariu
  • Apabhramsa Grammar

Swayambhu's Personality:

• Humility and Self-Effacement: Swayambhu was a poet who avoided self-praise and flattery. He did not boast about his patrons, the Rashtrakuta king Dhruva and his feudatory Dhananjaya, though he expressed gratitude and acknowledged his dependence on them.
• Gratitude: He also expressed gratitude towards his wives, Amritamba and Adityamba.
• Modesty: He considered himself ignorant and even a "bad poet" at times. He emphasized that his literary efforts were for self-expression rather than displaying scholarship. This led to a natural and unpretentious quality in his writing.
• Spiritual Inclination: Despite remaining a householder throughout his life, his works exhibit a spiritual fervor that elevates him to the status of a sage. His simple self-expression is what made him a great poet.
• Renowned Recognition: Mahapandit Rahul Sankrityayan considered him the greatest poet of the first era of Hindi poetry, placing him among the foremost poets of India.

The Source of Swayambhu's Ramayana:

• The Jain tradition has two primary streams of Ramayana narrative: one derived from Gunabhadra's Uttarapurana (with its roots in Sanghadashagani's Vasudevahindi) and another based on Vimalasuri's Paumachariyam.
• Vimalasuri's Paumachariyam, composed in Prakrit, is considered foundational for Jain Ramayana literature, similar to Valmiki's Ramayana for Hindu traditions.
• Ravishana's Padmacharita in Sanskrit is essentially a Sanskrit adaptation of Vimalasuri's work.
• Swayambhu, in turn, based his Apabhramsa Paumachariu on both Vimalasuri's Paumachariyam and Ravishana's Padmacharita.
• The author clarifies that while Shvetambaras primarily follow Vimalasuri's tradition, Digambaras have followed both Vimalasuri and Gunabhadra. However, the Yapaniya tradition (an offshoot of the Nirgranthic Sangha) specifically followed Vimalasuri's Ramayana, which explains the divergence of Ravishana and Swayambhu's works from fundamental Digambara beliefs.

In conclusion, the text meticulously builds a case for Swayambhu as a significant Apabhramsa poet, a learned householder, and a follower of the Yapaniya sect, highlighting his literary achievements and unique position within Jain literary history.