Chitrakavya Ka Utkarsh Saptasandhan Mahakavya

Here's a comprehensive summary of the provided Jain text about "Chitrakavya ka Utkarsh Saptasandhan Mahakavya" by Satyavrat, based on the provided PDF content:

Overview and Significance of Saptasandhan Mahakavya

The text discusses "Saptasandhan Mahakavya," a significant work within the tradition of Chitrakavya (pictorial or allusive poetry) in Sanskrit literature. The author, Meghavijaya Gani (17th century), aimed to demonstrate his erudition and poetic skill by creating a Saptasandhan (seven-fold union) epic. This tradition, ancient in Sanskrit literature, involves weaving multiple narratives or themes into a single poem, often through the use of shlesha (puns and double meanings) and vilomariti (reversed methods). Jain poets pushed this linguistic artistry to its extreme with works like Saptasandhan, Chaturvinsati Sandhan (twenty-four fold union), and Shatarthak Kavya (hundred-fold meaning).

Meghavijaya's Saptasandhan is considered an apex of the Chitrakavya style. It was composed to fill the void left by the unavailability of the original Saptasandhan by the esteemed Acharya Hemachandra. The epic, comprising nine sargas (cantos), intricately weaves the lives of five Jain Tirthankaras – Rishabhadeva, Shantinatha, Neminatha, Parshvanatha, and Mahavira – along with the stories of Purushottam Rama and Krishna Vasudeva.

The poem is described as challenging and "vajravat durbhedh" (impenetrable like a diamond) due to the poet's complex chitra shaili (pictorial style) and "uchchhrunkhal shabdikida" (unbridled wordplay). A commentary, "Sarani" by Vijayamrita Suri, is essential for understanding the poem, though even the commentary can be difficult at times.

Mahakavyatva (Epic Qualities) of Saptasandhan

Despite its primary focus on linguistic artistry, Saptasandhan possesses many elements considered essential for a Mahakavya by ancient theorists.

• Structure: It begins with auspicious verses (mangalacharana) praising Jinas (Tirthankaras) and the goddess of speech. It follows traditional conventions like praising the virtuous and criticizing the wicked, and describing cities.
• Heroes: The poem is based on the lives of multiple heroes who are described as dhirodatta (heroic and noble).
• Theme: The narratives are drawn from established Jain and, to some extent, non-Jain literature, making it "Itihas Prasoot" (derived from history or well-known).
• Rasas: While lacking the prominent rasas (aesthetic sentiments) of classical epics, Shanta rasa (serenity) is considered dominant. Shringara (erotic) and Vira rasa (heroism) are present in a subtle form.
• Goal: The ultimate aim of the poem, within the framework of the four purusharthas (goals of human life), is Moksha (liberation). The protagonists achieve Shivattva (state of liberation) after attaining Kevala Jnana (omniscience), reflecting the Indian ideal of liberation from the cycle of birth and death through continuous spiritual practice.
• Composition: The work is structured in sargas, with titles reflecting their content. Meghavijaya adhered to metrical rules, with a dominant meter in each canto and a change at the end. The seventh canto features a variety of meters, as per tradition. The poem also exhibits linguistic maturity, a strong desire to display scholarship, a serious style, and detailed descriptions of cities, mountains, and seasons, all characteristic of Mahakavyas. The poet himself designates it as a Mahakavya in its title and colophons.

Author: Meghavijaya Gani

Meghavijaya Gani was a highly talented poet, a sharp philosopher, a grammatically precise grammarian, a knowledgeable astrologer, and a spiritually realized soul. He was a disciple of Hiravijaya Suri, a spiritual friend of Mughal Emperor Akbar. His initiation guru was Kripavijaya, and he was appointed to the Upadhyaya (teacher) position by Vijayadev Suri's successor, Vijayaprabha Suri, whom Meghavijaya held in immense reverence. He expressed his gratitude to Vijayaprabha Suri through his works, including the Devananda Mahakavya and two independent compositions, Digvijaya Mahakavya and Meghaduta Samasyalekha.

Meghavijaya was also skilled in samasyapurti (completing verses based on a given line), as evidenced by his works that complete verses from Magha's Shishupala Vadha, Kalidasa's Meghaduta, and Bharavi's Kirata, and the Naishadha Charita. His other known poetic works include Laghu Shashtishalaka Purusha Charita, Bhavishyadatta Katha, and Panchakhyana. He also wrote commentaries, such as a commentary on Vallabha's Vijayadeva Mahatmya, and works on logic like the Yuktiprabodha Nataka and Dharma Manjusha. His mastery of grammar is showcased in Chandraprakasha, Haishabdachandrika, and Haishabdaprakriya. He also authored astronomical works and spiritual texts.

Beyond Sanskrit, Meghavijaya contributed to Gujarati literature as well. His works demonstrate his wide knowledge and multifaceted talent.

Date of Composition:

The Prantaprashti (contextual inscription) indicates that Saptasandhan was composed in Samvat 1760 (1703 CE). Based on other works, his lifespan is estimated to be between 1627 and 1710 CE.

Narrative (Kathanaka):

The nine-canto epic synthesizes the lives of the seven prominent figures. Due to the heavy use of shlesha, separating individual narratives is challenging. The article provides a breakdown of the content of each canto:

• Canto 1 (Avatar Varnan): Describes the fathers' capitals, governance, and mothers' dream visions.
• Canto 2 (Janma Varnan): Details the birth of the protagonists, bringing about peace and prosperity.
• Canto 3 (Janmabhisheka, Karan, Vivaha): Covers their ceremonial bathing, naming, and marriages.
• Canto 4 (Pujya Rajya Varnan): Includes divine attendance for Rishabhadeva's coronation, his progeny, and the prosperity of his subjects. It also discusses the feud between the Kauravas and Pandavas, Draupadi's disrobing, and renunciation, and the Tirthankaras' royal renunciation.
• Canto 5 (Vihar, Tapasya, Kashta Sahana): Focuses on the Tirthankaras' travels, asceticism, and endurance of hardships, leading to the destruction of karma and guiding people away from attachment and aversion.
• Canto 6 (Kevala Jnana Prapti): Describes the Tirthankaras attaining omniscience and preaching the doctrine of Syadvada.
• Canto 7 (Ritu Varnan): Depicts the six traditional seasons. Bharat, the future Chakravarti, attends the Tirthankaras' samavasarana (preaching assembly).
• Canto 8 (Digvijaya Varnan): Chronicles Chakravarti Bharat's conquest, annual charities, and the Tirthankaras' attainment of liberation.
• Canto 9 (Ganadhara Varnan): Primarily describes the disciples of the Jinas (Ganadharas).

The poem generally covers common events in the lives of these figures: parents, capitals, prenatal experiences, birth, childhood, marriage, and coronation. Specific events highlighted include:

• Adinatha: Bestowing the kingdom on Bharat, service by Nami-Vinami, Bahubali's journey in disguise, Bharat's arrival at the samavasarana, his six-part conquest, and his sister Sundari's renunciation.
• Shantinatha: Achieving chakravartiship through destruction of evil and six-part conquest.
• Neminatha: Renunciation by Rajimati.
• Mahavira: The event of embryo transference.
• Ramachandra: Sita's svayamvara, exile, abduction, Ravana's defeat, renunciation, killing of Shambuka, Ravana's deceit, Hanuman's embassy, Jatayu's death, breaking the bow, Sita's trial by fire, Vibhishana's defection and coronation, war, Ravana's death, pilgrimage to Shatrunjaya, attainment of liberation, abandonment of Sita due to suspicion of her fidelity, and Sita's renunciation.
• Krishnachandra: Rukmini's marriage, Kamsa's death, separation from Pradyumna, residence in Mathura, Pradyumna's abduction of Usha, Jarasandha's attack, Kaliya's subjugation, Dwarka's burning, death, Balabhadra carrying Krishna's corpse, renunciation, and the deaths of Shishupala and Jarasandha. The poem also incorporates events from the Mahabharata, such as the birth of the Pandavas, Draupadi's svayamvara, the dice game, disrobing, exile, concealment, the death of Kichaka, Abhimanyu's valor, and the deaths of Dushasana, Drona, and Bhishma, due to Krishna and Neminatha's close ties with the Pandavas.

The author notes a lack of chronological flow in the narrative, with the poet's primary aim being to present certain episodes to showcase his erudition. The sequence of events is often jumbled, particularly in the Ramayana section, where events like Ram's visit to Kishkindha are mentioned before his followers' return to Ayodhya. The placement of Sita's abduction and Ravana's defeat before her svayamvara and exile is deemed humorous. The mention of Jatayu's death and the breaking of the bow after Hanuman's embassy suggests poet's oversight.

Jain Adaptation of the Ramayana:

The poem presents a Jain version of the Ramayana, where Rama is portrayed as a monogamist, which is contrasted with his later multiple marriages (four wives are named). Due to the conspiracy of co-wives, Rama doubts Sita's chastity and banishes her while she is pregnant. His sons Kush and Lav are replaced by Anangalavan and Madanankusha. Consistent with Jain Ramayanas, Rama undertakes a pilgrimage to Shatrunjaya and attains liberation after renunciation.

The "Saptasandhanatva" (Seven-Fold Union):

Weaving the lives of seven individuals is an arduous task, made more complex by the mix of five Jain Tirthankaras and two Hindu deities. Sanskrit's complex nature, especially the use of shlesha, is the primary tool enabling this feat. The poem features extensive shlesha, allowing for interpretations across seven contexts. However, it's clarified that not every verse has seven distinct meanings. Most verses have three meanings: one for the Jinas, and the others for Rama and Krishna. Some verses can have four, five, or six meanings due to the unique characteristics of the Tirthankaras. Some verses are entirely free of puns and have a single meaning that applies to all seven protagonists. The poet's statement, "Kavye'sminnat eva Sapta Kathita Arthah Samarthah Shriye" (In this poem, seven meanings are supported for prosperity), highlights this aspect.

The technique involves using a primary noun for one context, with other words serving as adjectives. When interpreting for another context, these roles shift. The poem provides examples of verses that encapsulate fathers' names and birth dates of all seven heroes within a single verse.

Poetic Style and Language:

Meghavijaya's style is characterized by significant linguistic manipulation to extract multiple meanings from verses. The commentator sometimes assigns unusual meanings to common words, leading to reader astonishment but also struggle. The seasonal descriptions are also forced to fit the seven protagonists. The poem's language is described as a "linguistic play" (bhashayi khilwad), reaching the peak of scholarship and skill. The artificiality and effort involved in creating such language are evident, making Saptasandhan a truly complex and difficult work. While the poet's erudition is commendable, the linguistic complexity can become a hindrance to understanding, making his scholarship a potential "curse" for the reader who endures immense intellectual strain to derive multiple meanings.

Examples are provided to illustrate how words are manipulated to achieve different interpretations, making the poem largely incomprehensible without the commentary.

However, not all parts of the Saptasandhan are equally complex. Sections describing the prenatal period, birth of children, and ganadharas are praised for their clarity, grace, and sweetness. The descriptions of the actions of Dik-kumaris (female celestial attendants) are also in simple language. The simplicity of the ninth canto offers respite to the reader after the arduous journey through the earlier parts.

Nature Description:

Following the tradition of contemporary Mahakavyas, Meghavijaya includes descriptions of natural beauty, such as Mount Meru in the third canto and the six seasons in the seventh. However, this nature description is not driven by the poet's love for nature but is a mere fulfillment of epic conventions. In an attempt to hide his "emotional poverty" (bhava-daridra), like later-period poets, Meghavijaya uses pictorial techniques in nature descriptions, relying on puns and alliteration. These descriptions are deemed dry and artificial, lacking emotional depth or sweetness, and are limited to rhetorical flourish and wordplay. The poet's talent, constrained by the relentless pursuit of puns and alliteration, is seen as having its wings clipped, leading to a struggle in nature depiction.

While Meghavijaya attempts to portray the natural aspects of nature, he remains trapped by the constraints of chitrakavya. His nature descriptions are obscured by the maze of puns and alliteration. The roar of rivers in the rainy season is compared to the roar of elephants and armies, but it pales before the "terrible roar" of alliteration. The vibrant spring, with its removal of winter's obstacles and the blossoming of new youth, is described with elements that are lost in layers of puns, frustrating the reader.

The poem also touches upon the inciting aspect of nature, depicting Mount Meru with its fruits and the sweet songs of celestial damsels as stimulating desire. Amidst these embellished descriptions, a few natural and simple scenes are found, like the farmer guarding his field in a rain-soaked blanket and a cow shaking its wet shawl.

Human Beauty Description:

The poet's engagement with human beauty is limited, primarily focusing on brief mentions of the mothers of the protagonists. Their physical charm is subtly hinted at, with descriptions of their beautiful faces, full breasts, and slender waists.

Rasas (Aesthetic Sentiments):

Saptasandhan does not offer elaborate or dominant rasas. The nature of chitrakavya provides little space for such nuanced portrayals. When the poet is engrossed in showcasing his skill, he has no leisure to analyze the subtle workings of the human mind. Therefore, no rasa achieves the status of the primary sentiment. Given the poem's nature, Shanta rasa is considered dominant, though it is not strongly expressed even in the Tirthankaras' discourses.

• Shringara Rasa: A poignant depiction of sambhoga shringara (union in love) appears in the description of divine couples' activities in the third canto's depiction of Mount Meru.
• Vira Rasa: Despite descriptions of Bharat's conquest and the wars of Rama and Krishna, Vira rasa is not successfully expressed. Some verses in the Rama and Krishna contexts show the blossoming of Vira rasa, making those war scenes noteworthy.

Alankara Vidhana (Ornamentation/Figures of Speech):

As a chitrakavya, Saptasandhan extensively employs figures of speech, particularly those related to the chitra shaili. However, these are not used to enhance emotional experience or clarify expression; they are the poet's goals. In his pursuit of these, he neglects other aspects of poetry, turning the work into a display of ornamentation.

Meghavijaya set a formidable goal for himself. To weave the lives of seven heroes, he constantly relied on shlesha, which acts as his "crutch." The poem uses all forms of shlesha. The fifth canto exemplifies its extreme form, where verses are constructed to convey multiple meanings, leaving the reader exhausted. This canto is unreadable without commentary. One verse is shown to have three main meanings, and another is said to have four.

Yamak (alliteration and rhyme) is also extensively used, with the eighth canto being entirely filled with it. The poem also uses anupras (alliteration) effectively, adding melodic variety to the soundscape dominated by yamak and shlesha.

The poem also utilizes various arthalankaras (figures of speech based on meaning):

• Aprastuta Prashansa: (Praising the unexpressed by praising the expressed) - In a verse describing a banyan tree, the qualities of the son are implied.
• Tulyayogita: (Equivalence) - Here, health, fortune, and prosperity are linked by the "emergence" of a quality.
• Deepaka: (Lamp) - In the description of spring, the moon and the king share a common characteristic.
• Atishayokti: (Hyperbole) - The glory of the Jinas is described as more beautiful than divine damsels.
• Vyajastuti: (Praise that conceals blame) - A verse praising a villain is actually a criticism.
• Samasokti: (Inclusion) - The behavior of an angry person is imputed to fire.
• Arthantaranyasa: (Generalization and specification) - "Where one remains alone, they protect themselves; where Hari is sought, protection from others is not needed."
• Virodhabhasa: (Contradiction) - "These are also not ugly even though they are desirable; they do not cause pain even when wronged."
• Parisankhya: (Exclusion) - "The interaction of duties began with the sun; the ten-fold measurement began with the ninth measure."
• Udatta: (Exaltation) - "The divine beings danced at every step, with resounding drums."
• Arthapatti: (Postulation) - "The virtuous in cities, with affection, did not cause imprisonment; even a demon did not cause anger in hell."
• Visheshokti: (Special utterance, where the expected effect is absent) - "At the time of marriage, there was no sadness."

Metres (Chhandas):

Meghavijaya strictly followed metrical rules. Thirteen different meters are used, with Upajati being predominant.

Conclusion:

Meghavijaya's poetry presents complex challenges, requiring immense capacity to resolve them. His forceful manipulation of language demonstrates his scholarship but is criticized as an undue intellectual exercise for the reader, an offense to language and poetry itself. The poet's expectation of critical review is hindered by his recondite style. However, the primary goal of Saptasandhan's creator was to showcase his prowess in chitrakavya, not to entertain readers with pleasant poetry. Viewed by this standard, the poem is deemed successful in achieving its objective. The text concludes by comparing Saptasandhan to a dense forest requiring the reader to carve their path with patience, effort, and scholarship.