Ashwadhatikavya - Book Summary

Here is a comprehensive summary of the Jain text "Ashwadhatikavya" by Nilanjana Shah:

Book Title: Ashwadhatikavya Author: Jagannatha Pandita Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229679/1

This summary is based on the Gujarati text provided, which includes an introduction, the poem itself, and a detailed explanation of its themes and context.

Introduction:

The "Ashwadhatikavya" is a short devotional poem consisting of 26 verses (shlokas), composed by Jagannatha Pandita of Tanjore. The text was found within the collection of aphorisms called "Subhashita Ratnakara," edited by Krishnashastri Bhatavadekar and published in Mumbai in 1872. Alongside the poem, a commentary named "Darpan" (Mirror) by a scholar named Krishna is also published.

The primary purpose of this poem is to steer individuals away from worldly attachments and towards God, encouraging them on the path of self-welfare. Jagannatha Pandita was the court poet of the Maratha king Sarfoji of Tanjore (1712-1727). The poem's address to the goddess Parvati as "Tanjapureshi" (Queen of Tanjore) supports this biographical detail. It is also suggested that Jagannatha Pandita, the author of this work, might be the same Jagannatha who authored the Sanskrit works "Gyanvilas" and "Sharabharajvilas," as this Jagannatha also lived during King Sarfoji's reign.

The author himself states at the end of the poem that he composed it to fulfill the wishes of his grandson, Rama. While specific details about the author are scarce, each verse demonstrates his mastery of the Sanskrit language. The verses that describe Rama, Krishna, Shiva, and Parvati, filled with numerous mythological references, indicate that Jagannatha Pandita had a deep understanding of religious scriptures, especially the Puranas. His religious outlook appears very liberal, as he extols Rama, Krishna, Shiva, and Parvati with equal devotion. However, the greater number of verses dedicated to Shiva and Parvati suggests he might have been a devotee of Shiva.

The reason for titling this devotional poem "Ashwadhatikavya" is not explicitly mentioned by the poet or his commentator. It is speculated that the title might refer to the rhythmic flow of the verses, reminiscent of the trotting gait of a horse ("Ashwadhati" meaning horse's gait), and the poem's musicality.

Poem's Structure and Content:

Metrical Structure: The final verse (26) is composed in the Anushtubh meter, while the preceding 25 verses are written in the less common Mettebha meter, which has 22 syllables. The name of this meter is not found in prominent prosody texts, but its description is present in Sri Krishna Kavi's "Mandara Maranda Champu." The author's successful use of this long meter demonstrates his firm grasp of prosody.
Thematic Focus: The poem begins by urging the reader to meditate on Rama. The remaining verses are distributed among hymns to Shiva (10 verses), Parvati (8 verses), and Krishna, Vishnu, and the Narasimha avatar (6 verses). The poem's core message is to illustrate the futility and insignificance of worldly pursuits and attachments. It then directs the reader to seek refuge in the virtues of Rama, Shiva, Parvati, and Krishna for ultimate welfare.

Summary of Key Themes and Advice:

The poem, addressed at times to his grandson and at others to his own mind, ultimately aims to guide all human beings engrossed in worldly matters.

Detachment from Worldly Ties: The poem emphasizes that attachment to home, wife, children, and other worldly relationships is detrimental. It highlights that humans become trapped in the cycle of existence by their attraction to these relationships and worldly pleasures, failing to realize the impermanence of everything.
Caution Against Sensual Pleasures: The poet advises his grandson to stay away from the allure of women, pointing out their fickle nature. He explicitly states that those who indulge in romantic entanglements with women are no better than animals.
Critique of Materialism and Greed: The poem criticizes those who become morally corrupt in their pursuit of wealth, the subservience to powerful kings, and the arrogance of the wealthy. It notes that even after enduring humiliation and harsh treatment from such individuals, people remain spiritually impoverished. It also depicts the arduous journey undertaken to acquire wealth, enduring harsh climates and facing old age, only to be burdened by the worry of protecting that wealth.
The Path to Liberation: To escape these afflictions, overcome the illusion of attachment, evade the fear of Yama (the god of death), and achieve well-being in both this world and the next, the grandson is urged to gain wisdom and abandon the company of the wicked. The poet repeatedly stresses, even at the cost of repetition, that seeking refuge in God humbly is the sole means to self-welfare and the attainment of liberation.

Poetic Style and Commentary:

Genre: While appearing to be didactic poetry on the surface, a deeper study reveals it is closer to devotional hymns (stotra). The descriptions of various deities like Rama, Krishna, Shiva, and Parvati are rendered with profound and intense devotion, aimed at turning the grandson towards God.
Gaudian Style: The poem adheres to the Gaudian style, characterized by alliteration in every line. The author showcases his poetic skill by employing different alliterative patterns in each verse, a distinctive feature of this work. The prevalence of long compound words and the prominence of qualities like oja (vigor) and kanti (radiance) are also indicative of the Gaudian approach.
Language and Commentary: The consistent use of alliteration sometimes necessitates the use of obscure or less common words (e.g., asharah for a demon, jambalah for the sap of the Ketaki flower, drodhah for one who removes hostility, and sunastrah for Kamadeva). This makes the poem difficult to understand without interpretation. Fortunately, a scholar named Krishna Pandit, who lived shortly after Jagannatha Pandita, provided a fitting commentary called "Darpan." In his commentary, he thoroughly explained the challenging usages in the poem, making it accessible to discerning readers. The commentary is essential for fully appreciating the poem's essence.

Commentator's Time Period:

The commentator, Krishna Pandit, indicates the time of composing the "Darpan" commentary in symbolic language. Based on the inscription, the commentary was written on Thursday, the first day of the adhik (extra) month of Bhadrapada, in the Shaka era 1793. According to tables in "Indian Chronology," this date corresponds to August 31, 1871. Since the first edition of "Subhashita Ratnakara," which includes the "Ashwadhatikavya" and its commentary, was published in 1872, it can be inferred that the commentary was published in the year following its creation.

Preservation of the Text:

The pages of "Subhashita Ratnakara" containing the "Ashwadhatikavya" and its "Darpan" commentary are reportedly very old and torn, and the book is currently unavailable. Therefore, the commentary could not be included with this edition. The text acknowledges the significant debt owed to the editor of "Subhashita Ratnakara" for preserving this poem.

Conclusion:

The "Ashwadhatikavya" is a significant devotional work that, through its poetic beauty and profound spiritual advice, encourages readers to turn away from worldly distractions and embrace a life of devotion and self-realization, ultimately leading to liberation. The Gujarati translation of the poem's verses is also provided within the text.