Gahakoso Part 2 - Book Summary

The provided text is Volume II of "The Gāhākosa of Hala (Satavahana)," edited by Prof. M. V. Patwardhan and published by the Bhogilal Leherchand Institute of Indology. This volume focuses on the English translation of the Prakrit text of the Gāhākosa, along with an introduction, an index of stanzas, a glossary of select words, and explanatory notes.

Here's a comprehensive summary of the text:

I. Introduction:

General Remarks: The Gāhākosa is identified as a Jain version of Hala's Gathāsaptashati, commented upon by the Jain scholar Bhuvanapala. The term "kosa" signifies an anthology of unconnected stanzas (muktaka). Unlike the traditional Gathāsaptashati, which is not arranged by subject matter, Bhuvanapala's version, and subsequently the Gāhākosa, occasionally includes small topic-wise groupings of stanzas, possibly following the arrangement found in Sanskrit anthologies like Subhāṣitāvali and Sarngadharapaddhati. The Aryāsaptashati of Govardhana is mentioned as a Sanskrit work emulating Hala's Prakrit anthology, arranged alphabetically. The published text contains 694 stanzas, with six stanzas missing from all manuscripts. Bhuvanapala's commentary covers the first 600 stanzas, with subsequent commentary provided by Ajada and an anonymous commentator.
Author-cum-Compiler of Gāhākosa: Hāla, also known as Sātavāhana or Sālavāhana, is traditionally credited with compiling and editing 700 stanzas from a vast collection. The word "viracitāni" in the introductory stanza refers to compilation and arrangement, not original composition of all stanzas. While Hāla is credited with authorship of around 56 stanzas, he acted primarily as a compiler, reviser, or redactor of works by earlier poets and poetesses. The commentary mentions about twelve women poets and several male poets, though their works are otherwise unknown.
Language of the Gāhākosa: The language is identified as Jaina Mahārāṣṭrī, a dialectal variation of Mahārāṣṭrī Prākrit, which Dandin described as the "Prākrit par excellence." Jaina Mahārāṣṭrī, used by Śvetāmbara Jaina authors in their non-canonical works, shares most features with Mahārāṣṭrī Prākrit but has distinct phonetic and grammatical peculiarities, including the prevalence of "yaśruti" (insertion of 'y' after vowels), the universal change of medial 'n' to 'ṇ', the retention of initial 'a' as 'a' (unlike Mahārāṣṭrī's change to 'o'), and specific representations of Sanskrit conjunct consonants by 'nn', 'nh', 'ṇh', etc. The text also exhibits occasional Apabhramśa traits, deinflection, use of deponentia and anti-deponentia, deaspiration, and other stylistic variations for metrical purposes. The introduction also notes similarities in ideas with various Sanskrit and Prakrit poems, and describes unique and conventional similes found in the Gāhākosa.
Brief Survey of the Contents of Gāhākosa: The anthology primarily focuses on "kama" (love) in its various forms, encompassing both "sambhoga" (union) and "vipralambha" (separation) śrngāra. It describes the emotions and experiences of married and unmarried individuals, detailing physical intimacy, longing in separation, clandestine love, and even aspects of life during menstruation and post-coital states. The poems also touch upon themes of rural life, nature descriptions, moral maxims, and practical wisdom, although love poetry dominates. The text includes frank descriptions of human beauty and romantic encounters, noted as erotic but not obscene, drawing praise from ancient poets like Bāṇa.
Mythological, Historical, Geographical, and Other Allusions: The introduction lists various allusions found in the text, including references to Hindu deities (Śiva, Pārvati, Kṛṣṇa, Viṣṇu), rivers (Godāvari, Tapi, Revā/Narmadā), mountains (Vindhya, Malaya, Mandara), historical figures (Hāla, Sātavāhana, Vikramāditya), and cultural practices. It also notes the absence of references to the Ganges, Indus, and Sarasvati rivers, and the Himalayan and Sahya mountains, suggesting that this does not necessarily mean they were unknown but rather not relevant to the anthology's themes or geographical focus.
The Commentator Bhuvanapāla: Bhuvanapala, a Jain commentator, is identified as writing after the 11th-12th century AD, as he cites Kuntaka and Hemacandra. His commentary, named "Chekoktivicaralila," explains the stanzas word-by-word and often identifies the traditional poet associated with each stanza. He also discusses grammatical peculiarities and stylistic figures, drawing from authors like Dandin, Rudrata, and Bhoja, but notably not from Bhāmaha, Vāmana, Mammața, or Hemacandra's Kavyānusāsana. He also touches upon concepts related to musicalology, embryology, and gynaecology. Bhuvanapala's version of the Gāhākosa omits three well-known stanzas from the Gathāsaptashati, including the one celebrating Prakrit poetry.

II. Gāhākosa English Translation:

The bulk of the volume comprises the English translation of the 700 Gāthās (stanzas). These are presented in Centos (groups of 100 stanzas), covering a wide range of themes, primarily focused on:

Love and Romance: Descriptions of various stages of love, from initial attraction and clandestine meetings to married life, separation, longing, reconciliation, and the complexities of relationships. This includes depictions of youthful beauty, flirtation, jealousy, and the various emotions associated with love.
Nature and Rural Life: Vivid descriptions of natural scenery, seasons (spring, rainy season, autumn, winter), rural activities (farming, fetching water), and animal life, often used metaphorically to enhance the depiction of human emotions.
Social Commentary and Human Experience: Stanzas offer insights into social customs, family dynamics (including relationships with in-laws), poverty, the consequences of actions, and the varied aspects of human life, including moments of joy, sorrow, wit, and pathos.
Sensory Details and Eroticism: The poetry is noted for its frank and often erotic descriptions of physical beauty and amorous encounters, but without being obscene. The similes and metaphors used are often striking and original, aiming to capture the essence of human experience.

III. Index to the First Lines of Stanzas:

This section provides an alphabetical index of the first lines of the stanzas, cross-referenced with their serial numbers, aiding in the location of specific poems. It also includes notations for additional stanzas found in the BORI manuscript.

IV. Glossary of Select Words:

This extensive glossary provides the Prakrit word, its Sanskrit equivalent or meaning, its derivation (tadbhava, tatsama, desi), its occurrence in specific stanzas, and a brief explanation of its meaning in the context of the Gāhākosa. This is crucial for understanding the nuances of the Prakrit language used in the text.

V. Errata:

The errata section lists corrections for any errors found in the printed text of the introduction and translation, ensuring accuracy in the scholarly presentation.

In essence, "Gahakosa Part II" offers a detailed scholarly edition and translation of a significant Prakrit poetic anthology, providing valuable insights into the literary, cultural, and social landscape of ancient India, with a particular focus on the exploration of human emotions, especially love, within a relatable, often rural, context. The inclusion of Bhuvanapala's Jain commentary adds another layer of interpretive depth, highlighting the text's engagement with Jain philosophical and literary traditions.