Chandralekha - Book Summary | JainGPT

Here's a comprehensive summary of the Jain text "Chandralekha" by Rudradāsa, as presented in the edition by Dr. A. N. Upadhye:

Book Title: Rudradāsa's Candralekhā (A Drama in Prākrit)

Author: Rudradāsa

Editor/Publisher: Dr. A. N. Upadhye, Bharatiya Vidya Bhavan, Bombay, 1945.

Overview: Rudradāsa's Candralekhā is a drama written in the Prākrit language, belonging to the Sattaka genre. This edition, brought out by Dr. A. N. Upadhye, is a significant contribution to the study of Prākrit literature and Indian drama. It provides an authentic text of the play, based on rare manuscripts, along with a Sanskrit chāyā (commentary/translation), a detailed critical introduction, and scholarly notes.

Introduction (Dr. A. N. Upadhye):

Critical Apparatus:
- The edition is based on manuscripts transcribed from the South Indian libraries.
- The primary manuscript used is a Devanāgarī transcript (designated 'ka'), obtained from Dr. L. A. Ravivarma. This transcript contains both the Prākrit text and the Sanskrit chāyā.
- Variant readings were noted from another manuscript (designated 'kha'), which was a transcript of a manuscript from the Palace Library, Trivandrum.
- A third source ('c') is a transcript from the Govt. Oriental MSS. Library, Madras, which mainly contains the Sanskrit chāyā and is noted to have many lacunae.
- The editor acknowledges that ka is the main source for the Prākrit text, while kha and c provide valuable variants.
Constitution and Presentation of the Text and Chāyā:
- The editor emphasizes fidelity to the manuscripts, correcting only evident scribal errors based on established Prākrit grammar and the known tendencies of the manuscript.
- The Sattaka genre is late, and its language is expected to conform to general Prākrit linguistic tendencies, though strict adherence to classical grammars is sometimes challenged by manuscript readings.
- The editor contrasts his methodology with that of some earlier scholars (like Sten Konow) who sometimes altered readings to fit dialectal theories. Dr. Upadhye prioritizes genuine readings from the manuscript.
- The text uses a standardized orthography, and variants are meticulously noted.
- The chāyā is based on two manuscripts (ka and ma), and significant variants are recorded.
- The numbering system for the text is detailed, referring to Yavanikāntaras (acts/divisions), prose line numbers, and verse pādas.
Candralekhā: A Critical Study:
- Dramatis Personae: A comprehensive list of characters is provided, including the King Mānaveda (hero), Candralekhā (heroine), Queen (Devī), Vidūṣaka (jester), ministers, attendants, door-keepers, and bards.
- Story of the Play: The plot centers around King Mānaveda's ambition to become a universal monarch. He receives a miraculous jewel, Cintāmaṇi, from King Sindhunātha. At the Vidūṣaka's request, the jewel brings forth a beautiful, unknown maiden. The King falls in love with her, as does she with him. The Queen, unaware of the maiden's noble lineage and betrothal to Mānaveda, becomes suspicious and guards her. The maiden is later revealed to be Candralekhā, the King's cousin and destined wife. The Queen eventually consents to their marriage, fulfilling Mānaveda's ambitions. A subplot involves the King's interaction with his queen, jealousy, and the cleverness of the Vidūṣaka and maidservants.
- Synoptic Analysis of the Play: The play is divided into four Yavanikāntaras (acts). The analysis details the events within each act, including preludes, specific scenes, character interactions, and the progression of the plot. The seasonal backdrop of spring (Vasanta) is noted.
- Prākrit Drama: Sattaka: This section is a crucial part of the introduction, tracing the evolution of Indian drama.
  - Early Indian Drama: Discusses the origins and development of Indian theatre, drawing from Vedic hymns, rituals, epics, and early literary evidence.
  - Rūpakas and Uparūpakas: Explains the classification of dramatic forms, distinguishing between Rūpakas (major forms like Nāṭaka, Prakaraṇa) and Uparūpakas (minor forms).
  - Nāṭikā and Sattaka: Differentiates Nāṭikā (a type of drama often seen as a refinement of Nāṭaka/Prakaraṇa) from Sattaka. The Sattaka is defined as being entirely in Prākrit, lacking Praveśakas and Viṣkambhakas, and having four Yavanikāntaras. It is closely associated with dance and the madhura (erotic) sentiment, often featuring the adbhuta (marvellous) sentiment.
  - Prākṛits in the Drama: Analyzes the use of Sanskrit and various Prākrit dialects in plays, noting the conventions of character speech based on social status and gender.
  - Sattaka in the Evolution of Drama: Positions the Sattaka as a popular form, possibly originating from dance traditions, which later influenced the more classical Nāṭikā.
  - Sattakas Known So Far: Lists and briefly discusses six known Sattakas: Karpūramañjarī (Rājasekhara), Rambhāmañjarī (Nayacandra), Candralekhā (Rudradāsa), Vilāsavatī (Mārkaṇdeya), Śṛṅgāramañjarī (Viśveśvara), and Ānandasundarī (Ghanaśyāma).
  - Karpūramañjarī and Candralekhā: Highlights the significant similarities between these two Sattakas, suggesting Candralekhā was influenced by Karpūramañjarī in plot, motifs, and even specific expressions. However, Rudradāsa also shows individuality and restraint compared to Rājasekhara.
  - Candralekhā as a Literary Piece: Evaluates Candralekhā as a dramatic poem rich in descriptions, showcasing Rudradāsa's poetic skill and mastery of Prākrit versification, although the plot is considered less complex and character development is minimal.
  - Prākrit in Candralekhā: Discusses Rudradāsa's use of Prākrit, noting its artificiality possibly due to his reliance on grammars (like Vararuci's) and the influence of Karpūramañjarī, rather than direct familiarity with earlier vernacular works.
  - Metres in Candralekhā: Details the various metres used in the play's verses, with Sārdūlavikrīḍita and Śragdharā being most frequent.
Rudradāsa: The Author:
- Information about Rudradāsa is scarce, mainly from his own play. He belonged to the Pāraśava community, known for literary pursuits and devotion to Brahmins.
- His teachers were Rudra and Śrīkaṇṭha, who may also have been Pāraśavas.
- Rudradāsa likely enjoyed the patronage of the Zamorins of Calicut, and the hero Mānaveda is identified as the contemporary Zamorin Mānaveda II (circa 1660 A.D.).

Key Features and Significance:

Sattaka Genre: The edition significantly expands the understanding of the Sattaka genre by presenting a work other than the commonly known Karpūramañjarī.
Prākrit Studies: It contributes valuable material for the study of Prākrit language, its evolution, and its use in literature and drama, particularly from a South Indian perspective.
Scholarly Rigor: Dr. Upadhye's meticulous editing, critical introduction, and detailed notes set a high standard for textual scholarship.
Cultural Insight: The play offers glimpses into the social, cultural, and literary milieu of medieval India, particularly the patronage of arts and the role of different communities.
Literary Merit: While the plot is conventional, Rudradāsa's poetic skill in descriptions and verse is recognized.

In essence, Candralekhā edited by Dr. A. N. Upadhye is a scholarly work that revives an important but lesser-known Prākrit drama, enriching our knowledge of Indian dramatic traditions and linguistic history.