Arvachin Gujarati Kavya Sahitya - Book Summary

This is a comprehensive summary of the Jain text "Arvachin Gujarati Kavya Sahitya" by Ramnarayan Vishvanath Pathak, based on the provided pages.

Book Title: Arvachin Gujarati Kavya Sahitya (Modern Gujarati Poetic Literature)

Author: Ramnarayan Vishvanath Pathak

Publisher: Gujarat Vidyasabha, Ahmedabad

Publication Details:

Part of the Kutch Gibbs Memorial Series, No. 1.
Based on lectures delivered at the Lokayogi Vyavaharanmala No. 1.
Second Edition published in Samvat 1999 (1942-1943 AD), with 750 copies.
Printed at Shri Mahendra Mudranalaya, Ahmedabad.
The book contains lectures on various aspects of modern Gujarati poetry, focusing on changes in poetic composition.

Content Summary:

The book is a critical and analytical study of modern Gujarati poetry, tracing its evolution and the forces that shaped it. Ramnarayan Pathak emphasizes a historical approach, prioritizing the underlying literary and societal forces over individual poets. He aims to avoid mere repetition by examining the trends, influences, and innovations in Gujarati poetry since its modern inception.

The core of the book is structured around analyzing the "external form" or "poetic composition" (paddhyarachna) of modern Gujarati poetry, which he believes offers clearer insights into the shaping forces compared to other aspects like theme or style.

Key Themes and Chapters (as reflected in the provided pages):

Changes in Poetic Composition (પદ્યરચનાના ફેરફારો): This is the primary focus of the early lectures.
- Start of Modern Gujarati Poetry: Pathak identifies the beginning of modern Gujarati poetry with the influence of English education and the fusion of Western and ancient Indian cultures, evident in the works of Dalpatram and Narmad.
- Role of Criticism: He notes the emergence and growth of literary criticism in Gujarati during the modern period, acknowledging its role in shaping poetic understanding and evolution.
- Impact of Western Literature: The influence of English literature is highlighted as a major driving force behind new poetic experiments, particularly in meter and form.
- Metrics and Forms:
  - Indigenous Forms (Desi Dhaalo): The decline in the use of traditional folk meters like Ramgri and Ashawari in longer narrative poems (aakhyan) is discussed. He notes their last significant use in Ganpatram Rajaram Bhad's "Laghu Bharat" and mentions exceptions by Narsinhrao and K.H. Dhruva in their translations. He anticipates their potential revival with longer narrative poems.
  - Influence of Sanskrit Meters: The introduction and extensive use of Sanskrit meters in Gujarati poetry is considered a significant development. Pathak acknowledges the challenges faced by early poets in adapting these meters to Gujarati due to linguistic differences and unfamiliarity. He cites Dalpatram and Narmad's efforts to popularize and introduce these meters.
  - Blank Verse (Achhandas Padhyarachna): A significant portion is dedicated to the concept and attempts at creating blank verse in Gujarati.
    - The need for blank verse, especially for epic poems (mahakavya) and dramatic dialogues, is discussed, influenced by English epics like Milton's.
    - Early attempts by Narmad with his "Viravrutt" are analyzed, noting its derivation from Marathi lavani and its ultimate inadequacy for grand epics.
    - The book reviews the contributions of prominent figures like Balwantray Thakar, K.H. Dhruva, and Nhanalal in experimenting with new metrical structures and verse forms.
    - Paddhati (Methodology): Pathak introduces the concept of analyzing meters through their "seeds" (bij) and structures, citing K.H. Dhruva's work.
    - Lavani: The influence of Marathi lavani and its adaptation in Gujarati forms like Viravrutt and other variations is explored.
    - Gajachhand and Kutavilambita: The relationship between these meters and the concept of blank verse is examined.
    - Hari Giti and its variations: The evolution and adaptation of the Hari Giti meter are discussed, including Narmad's "Vishama Hari Giti" and K.H. Dhruva's "Khand Hari Giti."
    - Miśra Vṛtta (Mixed Meters): The blending of different meters within a single poem is analyzed, with examples from Narsinhrao, Sundaram, K.H. Dhruva, and Nhanalal.
    - Prasa (Rhyme): The role and gradual relaxation of rhyme in Gujarati poetry, influenced by Sanskrit and English traditions, are debated. Pathak notes the decreasing emphasis on strict rhyming, especially in Sanskrit-based meters, and the exploration of assonance and consonance.
    - Yati Bheda (Caesura Variation): The deliberate variation or deliberate breaking of the caesura (yati) in metrical lines, often to serve musicality or meaning, is discussed.
    - Nhanalal's Apadyagadya: A significant portion is dedicated to analyzing Nhanalal's "Apadyagadya" (non-metrical prose-poetry). Pathak critically examines whether this form constitutes true poetry or is essentially prose, discussing Nhanalal's concept of "Dalana" (rhythm) as the essence of poetry. He concludes that while it has poetic qualities, it remains closer to prose.
Variations in Meters and Their Combinations (વૃત્તોની વૈચિત્ર્યમય રચનાઓ):
- This section delves into the creative manipulation of existing meters, the invention of new ones, and the combination of different metrical patterns.
- Influence of English and Marathi Literature: Pathak reiterates the impact of English poetry's metrical freedom and Marathi literature's rhythmic patterns on Gujarati poets.
- Analysis of Specific Meters: Detailed analysis of meters like Pruthvi (Earth), Anushtubh, Vasanttilaka, Mandakranta, Shikharini, Champaka, Toṭaka, Bhujangi, Dandaka, Ghana-kshari, and Manahar is provided, with examples of their usage, variations, and suitability for different poetic effects.
- The concept of "Dalana" and "Shaili" (Style): The discussion on Nhanalal's theories of "Dalana" (rhythm) and "Shaili" (style) is presented as a departure from strict metrical adherence.
Blank Verse Experiments (બ્લૅંક વર્સ' કે સળંગ અગેય પદ્યરચનાના પ્રયત્ન):
- This chapter specifically addresses the attempts to create blank verse in Gujarati, analyzing its characteristics and the challenges involved.
- Characteristics of Blank Verse: Pathak explains the English concept of blank verse as unrhymed iambic decasyllable, focusing on its freedom from rhyme, the ability to overrun lines (overrunning of the line), variation of the caesura (variation of the pause), and the general lack of rigid metrical patterns.
- Suitability of Gujarati Meters: He assesses which Gujarati meters, if any, could potentially serve as blank verse. He finds that purely quantitative meters (Akshar-mel) like Pruthvi and Anushtubh have greater potential than purely syllabic meters (Matra-mel) due to their inherent rhythmic flexibility and less dependence on strict musicality.
- Analysis of Pruthvi: The meter Pruthvi is considered a strong candidate for Gujarati blank verse due to its inherent flexibility, ability to accommodate varying sentence structures, and the possibility of varying the caesura and end-stopping.
- Analysis of Anushtubh: Anushtubh is also suggested as a potential meter for blank verse due to its simplicity, flexibility, and the allowance for variations, citing examples of its use in flowing, prose-like narratives.
- Nhanalal's Apadyagadya Revisited: The discussion returns to Nhanalal's form, reaffirming Pathak's view that it is essentially prose, albeit rhythmically arranged prose, rather than true blank verse or metrical poetry.

Overall Contribution:

Ramnarayan Vishvanath Pathak's "Arvachin Gujarati Kavya Sahitya" is a significant scholarly work that provides a detailed, historically grounded analysis of the development of modern Gujarati poetry. It meticulously examines the formal aspects of poetry, including metrics, rhyme, and rhythm, and how they were influenced by external literary traditions and internal creative impulses. The book serves as a valuable resource for understanding the evolution of Gujarati verse forms and the intellectual discourse surrounding them in the early to mid-20th century.