Gujarati Sahityano Itihas Part 02 Khand 01

The provided text is a detailed historical account of Gujarati literature, specifically focusing on the period from 1450 to 1650 CE in Volume 2, Part 1 of "Gujarati Sahityano Itihas" (History of Gujarati Literature). Here's a comprehensive summary in English, based on the provided pages:

Overall Purpose:

This volume aims to provide a comprehensive historical overview of Gujarati literature during the medieval period, specifically the era spanning from 1450 to 1650 CE. It meticulously analyzes various literary forms, prominent poets, and the socio-cultural context that shaped this period. The revised and expanded second edition reflects advancements in research and incorporates more accurate details, building upon the foundation of the first edition published in 1976.

Key Content Areas and Themes:

1. Historical Context (Introduction by Bhogilal Sandaresara, pages 18-32):

   • Time Period: The medieval period of Gujarati literature is considered to be from the 12th century to the first half of the 19th century, with this volume focusing on the crucial phase of 1450-1650.
   • Influences: The text highlights the impact of the Turkish and Muslim conquests on Indian society, leading to a need for new expressions in vernacular languages. It emphasizes the role of religious movements, particularly the Bhakti movement, in shaping Gujarati literature. The influence of Vaishnavism, Pushtimarg, and later Swaminarayan Sampraday is noted.
   • Gujarat's Identity: The long coastline and foreign trade of Gujarat influenced its cultural development, just as the establishment of the Gujarati Sultanate in Patan and later Ahmedabad fostered linguistic and cultural regionalism.
   • Linguistic Evolution: The text traces the continuity of poetic forms like the Doha from Apabhramsa and their influence on Gujarati and Rajasthani literature.
   • Religious Pluralism: While Jain literature is noted as being plentiful and well-preserved due to the community's preservation practices, the work also acknowledges the existence and preservation of non-Jain literature. It discusses the influence of various religious traditions like Smarta Dharma, Puranic traditions, Shiva Puja, Shakti Puja, and folk religions.
   • Syncretism: The rise of Islam in North India and the concept of formless, monotheistic worship provided impetus for syncretic trends in Indian thought, particularly influencing the emergence and development of the Sant tradition. The incorporation of Nath Yogi's cryptic language, Sufi mysticism, and the devotional love of Vaishnavism is evident in the devotional poetry of the period.
   • Literary Patronage: Except for a few exceptions like Premanand, medieval Gujarati literature largely lacked state patronage. Wealthy patrons supported visual arts and illuminated manuscripts, but the literature itself emerged from and circulated within the general populace.
   • Artistic Integration: The volume discusses the integral role of manuscript illumination in Gujarati literature, mentioning works like "Vasant Vilas" (1452) and its rich artistic examples, spanning both Jain and non-Jain traditions.

2. Literary Forms (Chapter 2 by Chandrakant Mehta, pages 33-99):

   • Muktaka (Ghazal-like verses): Discussed as a distinct poetic form originating from Sanskrit, characterized by self-contained verses, often using the Doha meter. Examples from Hemachandra, Nandbatrisi, and Ashoka-Rohini Ras are cited.
   • Pada (Poem): Described as a lyrical form expressing emotions, primarily love-devotion (Premalaksana Bhakti) and didactic themes. Prominent poets like Narsinh, Mirabai, Premanand, Rajem, Dayaram, and Akho are mentioned for their contributions to this form. The influence of temples and devotional groups (Bhajan mandalis) on the development of 'pada' is highlighted.
   • Padmala (Garland of Poems): Explains how single poems evolved into series or sequences to narrate longer stories or themes, exemplified by Narsinh Mehta's "Sudama Charitra" and Premanand's "Bhramar Pachisi."
   • Garba-Garbi: Discussed as a type of ritualistic folk dance song, primarily associated with Navratri and the worship of Shakti. Their evolution from devotional themes to social commentary is noted.
   • Rasa and Rasada: Differentiated as dance forms, with Rasa typically performed by men and Rasada by women. The historical connection to Krishna's Rasa Lila is acknowledged.
   • Rasā and Prabandha: Explores the fluid boundaries between these forms, noting how historical or semi-historical narratives in Sanskrit prose and poetry were called Prabandha, while similar narratives in old Gujarati were often termed Rasa. Examples like "Vimal Prabandha" and "Kanhadde Prabandha" are mentioned, highlighting their shared characteristic of focusing on historical events.
   • Akhyan: Detailed discussion on this popular narrative form, comparing its origins with 'Rasa' and noting its evolution from religious narratives to dramatic performances by 'Manbhats' (storytellers). The structural elements of Akhyan (Mukhbandh, Dhal, Valan) are explained. Poets like Nakar, Vishnudas, Bhalan, and Premanand are highlighted for their contributions to this genre.
   • Vartā (Tale): Traces the lineage of narrative tales from ancient Sanskrit literature through Prakrit and Apabhramsa to Gujarati, noting their presence in both poetry and prose. Shaml is identified as a major contributor to this form.
   • Phagu: Explains this form as a description of spring, often encompassing nature's beauty and human emotions, including Shringar (love) in both its aspects (vipralambha and sambhoga). It notes the prevalence of Jain Phagus compared to Jainetar ones.
   • Prose Literature: Challenges the notion of prose being scarce in older Gujarati literature, highlighting the growing discoveries of prose works from the 14th century onwards, including translations, commentaries, narrative collections, and grammatical texts.
   • Artistic Integration: The text also touches upon the interrelationship between literature and visual arts, particularly manuscript illumination, and how various themes from religious texts and epics were depicted visually.

3. Jain Literature (Chapter 3 by Ramanlal C. Shah, pages 64-105):

   • Dominance of Rasa: This section identifies 'Rasa' as the most extensively explored genre during this period (1450-1600 CE) among Jain poets. It notes the evolution of Rasa from shorter, didactic pieces to longer, narrative works rich in description, rhetoric, and philosophical exposition.
   • Vastness of Jain Literature: It estimates the existence of over two hundred Rasa works from this period, with many still unpublished, underscoring the need for further research.
   • Thematic Expansion: Jain Rasa literature expanded beyond purely religious themes to include historical and folk narratives, adapted into a Jain framework. The primary goal remained religious instruction.
   • Other Forms: It also discusses the prevalence of 'Stavan' (hymns), 'Sajzhay' (didactic verses for self-reflection), 'Puja' (devotional rituals), and 'Chhanda' (metrical verses). Stavan, in particular, is described as a lyrical form often celebrating Jain Tirthankaras and expressing the poet's personal devotion. Sajzhay served didactic and devotional purposes, focusing on themes like atonement, detachment, and karma liberation.
   • Notable Jain Poets and Works: It details works by poets like Harsevak ('Madanrekha Rasa'), Shalisur ('Virata Parva'), Depal (various works including 'Shrenik Abhaykumar Charitra'), Vachha Bhandari ('Jivabhavasthiti Rasa'), Jinadas Brahmachari ('Sugandhadashmi Katha', 'Harivamsa Rasa'), Lavanyasamay ('Vimalprabandha', 'Karsanvad', 'Nemirangaratnakarachhand'), Jin-chandrasuri, Kusalalabh ('Madhavanal Chopai', 'Marudola ni Chopai'), and many others, providing brief descriptions of their works and contributions. The detailed analysis of Lavanyasamay's 'Vimalprabandha' and Kusalalabh's 'Madhavanal Chopai' highlights their significance. The text also points out the specific details of Vimalprabandha's narrative focus on social and religious aspects, while Kanhadde Prabandha's influence is noted on Hami Prabandha.

4. Narsinh Mehta (Chapter 4 by Umashankar Joshi, pages 104-197):

   • Pioneer of Gujarati Literature: Narsinh Mehta is recognized as the first major poet of Gujarati literature, whose devotional 'Pada' (poems) resonated with the common people and significantly contributed to the development of the language.
   • Bhakti Movement: His work is analyzed within the broader context of the Bhakti movement in India, noting its widespread influence and the syncretic nature of its expression across various vernacular languages. The text discusses potential influences from Christianity and Islam but emphasizes the deep roots of Bhakti within Indian traditions, particularly the Bhagavad Gita and earlier Alwar saints.
   • Writings and Themes: The summary details Narsinh's key works like 'Harimala', 'Govindgaman', 'Mamaru', 'Hundi', and 'Sudama Charitra'. His poems are categorized into autobiographical, Krishna-centric devotional lyrics (Shringar and Vatsalya aspects), and devotional-philosophical verses.
   • Personal Life and Mysticism: The text touches upon the traditional narratives of Narsinh's life, including his early renunciation, his deep devotion, his interactions with various religious figures, and the miracles attributed to him. It highlights his unique blend of devotional ecstasy and philosophical insight, particularly his advocacy for social equality and spiritual realization beyond rituals.
   • Language and Style: Narsinh's poetic style is characterized by its simplicity, spontaneity, devotional fervor, and use of colloquial language, making his verses accessible to the masses. His mastery of 'Jhulana' and other folk meters is emphasized.
   • Adhvaita Influence: The text notes the presence of Advaita Vedanta concepts in Narsinh's later works, suggesting a progression from devotional fervor to philosophical realization.

5. Bhalan (Chapter 5 by Keshavram K. Shastri, pages 230-252):

   • Pioneer of Akhyan: Bhalan is credited with laying the foundation for the 'Akhyan' genre, a narrative poetic form that became highly popular in medieval Gujarati literature. He adapted Puranic and historical stories, presenting them in a style suitable for public performance.
   • Structure of Akhyan: The chapter details the structural components of an Akhyan: Mukhbandh (introductory verse), Dhal (main narrative), and Valan (concluding verse linking to the next section).
   • Adaptation and Innovation: Bhalan is noted for adapting stories from the Mahabharata, Ramayana, and Puranas, often infusing them with local Gujarati flavors and customs. His use of various meters and his ability to blend different literary traditions are highlighted.
   • Later Poets: The text mentions that Bhalan's work influenced subsequent poets like Nakar and Vishnudas, who further developed the Akhyan form. Premanand is identified as the culmination of this tradition.

6. Prabandha Literature and Padmanabh (Chapter 7 by Kantilal Vyas, pages 252-275):

   • Prabandha as Historical Narrative: This section defines Prabandha literature as narrative poetry focused on the lives and deeds of historical or semi-historical figures, often emphasizing heroism and chivalry. It traces the development of this form from Sanskrit traditions.
   • Kanhadde Prabandha: The highlight of this section is the detailed analysis of Padmanabh's "Kanhadde Prabandha" (c. 1456 CE). This work is lauded as a masterpiece of medieval Gujarati literature, praised for its vivid portrayal of heroism, patriotism, and the socio-cultural life of the era.
   • Historical Accuracy and Artistic Merit: The text discusses the historical accuracy of the narratives, the rich descriptions of society, art, and customs, and the skillful characterizations, particularly of Kanhadde and his warriors. The language is described as ancient Gujarati with Rajasthani influences.
   • Other Prabandhas: It briefly mentions other works like Bhalan's "Nal-Damayanti" and Lavanyasamay's "Vimalprabandha," placing them within the context of Prabandha literature.

7. Phagu Literature (Chapter 8 by Kantilal Vyas, pages 276-308):

   • Origin and Theme: Phagu literature is described as originating from folk dance songs sung during spring festivals. Its primary themes revolve around the description of spring (Vasant Varnan) and the expression of love and longing (Shringar Rasa).
   • Jain vs. Jainetar Phagu: The text distinguishes between Jain and Jainetar Phagu. Jain Phagus tend to adapt the Shringar theme to focus on renunciation and asceticism, often describing the virtues of Tirthankaras and Jain acharyas. Jainetar Phagus, like the renowned "Vasant Vilas," are more focused on secular love and the celebration of spring's beauty.
   • Vasant Vilas: This work is highlighted as a pristine example of early Gujarati Phagu literature, praised for its exquisite descriptions, lyrical quality, and vibrant portrayal of spring and human emotions.
   • Other Phagus: It mentions other works like "Narayan Phagu" and "Harivilas Phagu" in the Jainetar tradition, and various Phagus dedicated to Jain Tirthankaras and spiritual leaders from the Jain tradition.

8. Narsinh Mehta (Chapter 9 by Subhash Dave, pages 309-398):

   • The "Adi Kavi": Narsinh Mehta is recognized as the "Adi Kavi" (first poet) of Gujarati literature, not necessarily for being the earliest, but for his profound impact and popular appeal.
   • Bhakti Movement Representative: His poetry is seen as a direct expression of the Bhakti movement, characterized by intense devotion, emotional depth, and accessible language.
   • Key Themes: Narsinh's poetry encompasses autobiographical elements, Krishna's life and leelas (especially Bal Lila), the concept of "Dasa-bhakti" (devotion as service), and a profound advaita (non-dual) philosophical understanding.
   • Unique Style: His language is noted for its simplicity, colloquialism, and lyrical quality, making it easily accessible to the common people. His ability to blend devotional fervor with philosophical depth is a hallmark of his style.
   • Debates on Time Period: The chapter delves into the scholarly debate surrounding Narsinh Mehta's exact timeline, presenting various estimations and the evidence (like inscriptions and stylistic analysis) used to place him in the 15th century.

9. Akho (Chapter 10 by Subhash Dave, pages 381-431):

   • The Zenith of Gyanmargi Poetry: Akho is presented as the pinnacle of the Gyanmargi (knowledge-oriented) poetry tradition in Gujarati literature. His work reflects a deep understanding of Vedanta and Nath Yoga philosophies.
   • Samanvay Darshan (Syncretic Philosophy): Akho's philosophy is characterized by its syncretism, attempting to reconcile Nirguna (formless) and Saguna (form-oriented) aspects of worship. He criticizes ritualism, hypocrisy, and the limitations of mere bookish knowledge, advocating for direct experience and self-realization.
   • Chhappā: His most famous contribution is the 'Chhappā', a poetic form consisting of six lines, often used for philosophical and satirical commentary on society, religion, and human nature. His Chhappas are known for their sharp wit, unique wordplay, and profound insights.
   • Critique of Society and Rituals: Akho's poetry often serves as social commentary, criticizing blind faith, corrupt religious practices, and the hollow rituals prevalent in his time. His satirical approach, however, is always aimed at awakening the individual towards self-realization.
   • Language and Style: Akho's language is noted for its simplicity, directness, and use of colloquialisms, making his philosophical ideas accessible. His skill in employing proverbs, analogies, and a sharp, often humorous, style makes his poetry engaging and memorable.
   • Influence and Legacy: Akho's work significantly influenced later Gujarati philosophy and poetry. He is revered for his ability to translate complex philosophical concepts into relatable poetic forms, making them accessible to the masses.

Key Editors and Contributors:

• Chief Editors: Umashankar Joshi, Anantray Raval, Yashwant Shukla (First Edition).
• Revision and Editing (Second Edition): Raman Soni.
• Consultation (Second Edition): Chimanlal Trivedi.
• Contributors to Specific Chapters: Bhogilal Sandaresara (Introduction), Chandrakant Mehta (Literary Forms), Ramanlal C. Shah (Jain Literature), Keshavram K. Shastri (Narsinh Mehta, Bhalan), Kantilal Vyas (Prabandha Literature, Padmanabh, Phagu Literature), Subhash Dave (Akho and Post-Akho Gyanmargi poets).

Overall Significance:

This volume serves as a foundational text for understanding the rich medieval period of Gujarati literature. It meticulously documents the evolution of various literary forms, the philosophical underpinnings of the era, and the diverse contributions of poets who shaped Gujarati language and culture. The work emphasizes the interplay of religion, philosophy, social commentary, and artistic expression in shaping the literary landscape of this significant period. The second edition's commitment to scholarly revision ensures its continued relevance and accuracy for researchers and enthusiasts of Gujarati literature.