Hemchandracharya Ni Kavya Vyutpatti Suchak Ek Vadhu Udaharan

Here's a comprehensive summary of the provided Jain text, organized by the sections presented:

Book Title: Hemchandracharya ni Kavya Vyutpatti Suchak Ek Vadhu Udaharan (An Additional Example Indicating Hemchandracharya's Poetic Derivation) Author: H. C. Bhayani Publisher: ZZ_Anusandhan

Introduction and First Example: Hemchandracharya and Kalidasa's influence

• Hemchandracharya's 'Chandonushasan': The author H. C. Bhayani draws attention to an example of the Simhapada meter in the seventh chapter of Hemchandracharya's 'Chandonushasan'. He notes that this example is a direct echo of the fifteenth verse of the sixteenth canto of Kalidasa's 'Raghuvamsha'. This observation suggests Hemchandracharya's reliance on Kalidasa's work for constructing metrically correct examples, showcasing his deep study of 'Raghuvamsha', appreciation for poetic aesthetics, and sharp memory.

• Second Example: 'Deshinamala' and Kalidasa's 'Meghaduta': Bhayani presents another example supporting his argument. He refers to the 'Deshinamala' (Chapter 6, Sutra 110), which lists several Prakrit words with their meanings: mantella, mayanasalaiya (sarika/maina bird); malhaṇa (lila/playfulness); mandhāva, mahāyatta (rich/affluent); maheḍra (lotus). Hemchandracharya composed an illustrative verse using these words:

  • "Etammi mahāyatte mallhanti nav-maheḍburuha-naẏaṇā | Pāḍhai mandhāya-vahū mayanasalāyāpieṭh mantellī ||"
  • Meaning: "When this affluent and beloved one, dear to the maina bird, arrives, the wife of the rich person, full of playfulness and with eyes like fresh lotuses, teaches the maina bird here."

  This verse immediately brings to mind a well-known verse from Kalidasa's 'Meghaduta' (Verse 82, according to Sushilkumar De's edition):

  • "Pṛcchanti vā madhuravacanaṁ sārikāṁ pañjarasthāṁ Kaccidbhartuḥ smarasi rasike tvaṁ hi tasya priyeti ||"
  • Meaning: "The maina bird, perched in its cage, sweetly asks, 'O sentient one, do you remember your lord? For you are indeed his beloved!'"

  Bhayani concludes that Hemchandracharya's conscious inclusion of a word for the maina bird in his example verse was likely inspired by this specific reference in 'Meghaduta', further indicating his admiration for Kalidasa.

A Verse with Rhyming 'ti' Endings in 'Prabandhachintamani'

• The Story of King Bhoja: Bhayani recounts a tale from Merutunga's 'Prabandhachintamani' about the Parmara king Bhoja. While disguised and roaming the city in winter, the king overheard a poor person lamenting his plight in a verse due to the cold. The king, moved by this, summoned the person the next morning to inquire how they endured the winter cold.

• The Pauper's Verse: The pauper's verse, found in a manuscript, is presented:

  • "Shītātrāna paṭī, na chāgniśakaṭī, bhūmau cha ghṛṣṭā kaṭī nirvātā na kuṭī, na taṇdula-puṭī. Tuṣṭir na chai kā ghaṭī! Vṛttir nārabhaṭī, priyā na gumaṭī, tan-nāth me saṅkaṭī. Śrīmad Bhoja! tava prasādakaṭī bhaktāṁ mamāpattṭīm ||"
  • Meaning: "I have no blanket for protection from the cold, no fire-pan. My back is pressed against the ground, no windbreak, no hut. I have no rice, no moment of peace. My livelihood is not heroic, I have no good wife. O Lord, I am in distress! O glorious Bhoja! Your grace is like an elephant that will break down my wall of calamity."

• Bhoja's Reward: Upon hearing this verse, which cleverly uses eleven words ending in '-ti', King Bhoja rewarded the pauper with eleven lakhs (a significant sum).

• Possible Inspiration from 'Hanumannataka': Bhayani suggests that the verse from 'Prabandhachintamani' might have been inspired by a verse from 'Hanumannataka' (3.22), which also features eleven words ending in '-ti' (although the article mentions twelve in the verse itself). The 'Hanumannataka' verse describes the beautiful hermitage made by Rama and Lakshmana. The comparison highlights a shared stylistic device.

• Another Verse from 'Hanumannataka': A subsequent verse from 'Hanumannataka' (3.23) is presented, which uses eleven words ending in '-ṭa' in praise of Rama. This further illustrates the stylistic element that might have influenced the verse in 'Prabandhachintamani'.

An Apabhramsa Doha from 'Siddhahema' and its Later Adaptation

• Hemchandracharya's Apabhramsa Verses: Bhayani states that Hemchandracharya, in the Apabhramsa section of his grammar, included dohas (couplets) from literature available to him. Many of these dohas have survived, with slight variations, in later Old Gujarati-Rajasthani literature and in the oral traditions of Charani literature.

• Example Verse from 'Siddhahema': Bhayani draws attention to a specific example (Sutra 430, third example) from the Apabhramsa section of 'Siddhahema':

  • "Sāmī-pasāu sa-lajju piū, sīmā-ruhiṭi vāsu | Pekkhivi bāhu-ballaullā, dhaṇa mela'i nīsāsu ||"
  • Meaning: "By the husband's grace, the shy beloved, residing on the border, seeing the lover's strength of arms, the rich lady sighs."

• Interpretation of the Verse: The underlying meaning is that the husband might have to go to war, and if he is killed in battle, the lady will become a sati (widow who immolates herself on her husband's pyre).

• Later Adaptation from 'Duho Dashamo Ved': Bhayani compares this with a doha from "Duho Dashamo Ved," edited by Takhtdan Rohadiya (Doha No. 32):

  • "Ari neḍā piyu baṅkaḍo, sāyadhaṇa he kuḷa- śuddha | Hālo naṇaṃdī heḷavā, (have) ajaiyā kuṃvara dūdh ||"
  • Meaning: "The enemy is near, my husband is brave and powerful. And I, his beloved, am of pure lineage. O sister-in-law, let us make the prince ready (by feeding him goat's milk)."

• Interpretation of the Adaptation: The meaning here is that if the husband dies in battle, and she, being of high lineage, will become a sati. Therefore, the young prince will have to be raised by feeding him goat's milk. It is better to prepare him for this hardship from the start, so that he finds it less unpleasant later.

• Evolution of the Sentiment: Bhayani highlights the shift in sentiment. The older doha expresses the heroine's fear, while the later adaptation conveys certainty of future events and proactive preparation. The "udaru vibhāva" (excitant cause) used in the later adaptation vividly portrays the situation, deeply implying the hero's valor.

• Another Set of Doaha Transformations: Bhayani also provides two more doha transformations from the same book:

  1. Original (Apabhramsa, 445.3): "Ghā'i vilaggī ūṅgaḍī, siru lhasiau khandhara | To vi kaṭāi hatthaūu, bali kija'u kaṃtassu ||" Meaning: "Despite being struck and wounded, the eyes are closed, the head has fallen on the shoulder, yet the dagger is still in the hand. I offer myself as sacrifice for such a beloved!" (Bhayani notes he has found a Prakrit adaptation of this in 'Vajjālaggam').
  2. Original (Apabhramsa, 395.5): "Ammi payodhara vjjāmā, niccu je saṃmuka thaṃti | Mahu kaṃto samaraṅgaṇa, gaya- ghaḍa bhajjiu jaṃti ||" Meaning: "My breasts are like vajra (thunderbolt), because they are always before my husband. When in the battlefield, the elephant troops flee from my husband." Comparison: This is compared to a later doha (Doha No. 366 from 'Duho Dashamo Ved'):
     • "Leṭākara vita āpaṇā, deto rajapūtāṃha | Dhaḍa dharatī paga pāgaḍe, āṃtara godhaḍīāṃha ||" Meaning: "Giving his own provisions in a lying position, to the Rajputs. The trunk touches the ground, the feet are in the stirrups." Further Comparison: This is also compared to another doha (Doha No. 211 from the same book):
     • "Śaila dharma ka kyoṃ sahyā, kyoṃ sahi'ā gaja- danta | Kaṭhaṇa payodhara khūṃcatāṃ, tuṃ kaṇakaṇiyo' to kaṃtha ||" Meaning: "Why did you endure the mountains, why the elephant tusks? When piercing me with hard breasts, you are such a 'kaṇakaṇiyo' (a term for a miser or one who is stingy with affection/effort), O beloved!"

'Shatrunjaymaṇḍan - Rishabhdev Stuti': A Clarification and Supplement

• Previous Publications: The article mentions that the work 'Shatrunjaymaṇḍan - Rishabhdev Stuti', edited by Muni Bhuvanchandji, was published in 'Anusandhan-5' (pp. 40-43). It was attributed to a monk named 'Vasana' (or 'Vasan'?), a disciple of Vijaysurishishya. References were made to 'Jain Gurjar Kavi' and 'Gujarati Sahityakaro (Madhyakal)'.

• Correction and Clarification: Jayant Kothari points out the need for further clarity and supplementation regarding the authorship.

  1. 'Jain Gurjar Kavi' (2nd edition, Vol. 1, p. 363) lists this work as 'Adinath Stavan' under Vasana, but Vol. 7, p. 804, corrects this, attributing it to Vijaytilak.
  2. 'Jain Gurjar Kavi' (Vol. 1, p. 468) also lists 'Adinath Stavan' under Vijaytilak Upadhyay. It mentions three manuscripts from the Prussian State Library, two with Sanskrit commentaries and one with Gujarati Balavabodh. The Sanskrit commentary clearly names Vijaytilak Upadhyay as the author.
  3. Furthermore, many manuscripts of this work are available under Vijaytilak's name at the Bharatiya Sanskriti Vidyamandir, Ahmedabad, and the Hemchandracharya Jain Gyanmandir, Patan. The existence of so many manuscripts, along with Sanskrit commentaries and Gujarati Balavabodh, indicates the work's significant and specific importance within the tradition. Kothari suggests that editing this work using all available resources, including the Sanskrit commentary and Gujarati Balavabodh, and adding one's own research, would be a worthwhile endeavor, as it contains valuable linguistic material.
  4. 'Gujarati Sahityakosh (Madhyakal)' lists the work under Vasana, but also under Vijaytilak Upadhyay (p. 401), likely based on the Prussian State Library manuscripts.

This summary covers the main points of the article, highlighting the author's research into the influences and lineage of literary works, particularly focusing on Hemchandracharya's adaptations and the historical development of poetic forms and sentiments.