Jain Sanskrit Mahakavyo Me Rasa

Here's a comprehensive summary in English of the Jain Sanskrit text "Jain Sanskrit Mahakavyo me Rasa" by Pushpa Gupta:

This article, "Rasa in Jain Sanskrit Mahakavyas" by Dr. (Mrs.) Pushpa Gupta, explores the presence and depiction of rasa (aesthetic sentiment) in Jain Sanskrit epic poems (mahakavyas). While acknowledging that the definition of mahakavya is debated among scholars, the author emphasizes that rasa is central to poetry.

The author categorizes Jain Sanskrit mahakavyas into three groups based on their language and style:

1. Puranas: These works are titled as Puranas but possess all the characteristics of mahakavyas. Examples include Raviṣeṇāchārya's Padmapurāṇa, Jinasenāchārya's Harivanshapurāṇa and Ādipurāṇa, and Guṇabhadra's Uttarapurāṇa. The authors themselves considered these as mahakavyas.
2. Ornate Mahakavyas: These have ornate language and the title explicitly includes "Mahakavya." Examples include Dhananjaya's Dvisandhāna Mahakavya, Vīranandi's Chandraprabhacharitam, Mahāsenāchārya's Pradyumnacharitam, Hariścandra's Dharmaśarmābhyudaya Mahakavyam, Vādirājasūri's Pārśvanāthacharita and Yaśodharacharita, Vāgbhaṭṭa's Neminirvāṇa Mahakavyam, Abhayadevasūri's Jayantavijaya Mahakavya, Bālachandra Sūri's Vasantavilāsa Mahakavya, Arhadadāsa's Muni Suvrata Mahakavya, and Amarchandrasūri's Padmānanda Mahakavya.
3. Mahakavyas with Puranic Style: These are titled as Mahakavyas but exhibit a Puranic language and style. Examples include Vinayachandra Sūri's Mallināthacharita, Udayaprabhasūri's Dharmābhyudaya Mahakavya, Bhāwadeva Sūri's Pārśvanāthacharita, and Munibhadra's Śāntināthacharita.

Dominant Rasa: Shanta Rasa and the Skillful Portrayal of Others

The author notes that while Shanta Rasa (serenity/peace) is dominant and natural in Jain mahakavyas (as the authors aimed to expound Jain philosophy simply and appealingly), Jain poets skillfully depicted all other rasas as well.

Detailed Analysis of Rasas:

• Shringara Rasa (Erotic/Love Rasa):

  • Both Sambhoga Shringara (love in union) and Vipralambha Shringara (love in separation) are present.
  • Sambhoga Shringara is often found in the past-life stories of Tirthankaras or in descriptions of kings. In the second category of Mahakavyas, love between heroes and heroines is described collectively, without naming individuals.
  • The portrayal of love for the Trishashtishalaka Purushas (sixty-three great individuals) is limited, possibly due to the reverence Jain poets held for them. Their love is conveyed through suggestion (vyanjana) rather than direct description (abhidha).
  • Examples are given of Jinasenāchārya's subtle depiction of Rishabhadhva in Ādipurāṇa and Bhāwadeva Sūri's comparison of Pārśvanātha and Prabhāvatī to clouds and lightning in Pārśvanāthacharita. Raviṣeṇāchārya's reunion of Rama and Sita in Padmapurāṇa is noted for its eloquent and powerful language, comparing them to auspicious couples symbolizing prosperity, beauty, purity, and fidelity.
  • Category two Mahakavyas follow traditional descriptions of seasons, flower-picking, water sports, etc., more extensively, possibly to meet the definition of mahakavya. However, some of these, like Dhananjaya's Dvisandhāna, are criticized for excessive and sometimes indecent descriptions of sambhoga shringara, even including drinking. The author suggests this might have been to evoke disinterest in such themes, as desired in Jain philosophy.

• Vipralambha Shringara:

  • Jain mahakavyas depict Pūrvarāga (love at first sight), Māna (lover's quarrel), and Pravāsa (separation due to absence). A unique type, separation due to abduction, is also prominent.
  • Vipralambha is considered more impactful in Puranas than in Mahakavyas. Raviṣeṇāchārya is praised for his description of Hariścandra's separation from Nāgavati in Padmapurāṇa. Jinasenāchārya's depiction of Śrīmatī recalling her past-life husband in Ādipurāṇa is also highlighted.
  • Vāgbhaṭṭa's portrayal of Rājīmatī's sorrow in Neminirvāṇa is noted as poignant and realistic. Udayaprabhasūri's depiction of Dhanaivatī's separation in Dharmābhyudaya shows influence of Advaita Vedanta. Bālachandra Sūri's symbolic description of Vastupala's death in Vasantavilāsa is also praised.
  • Hariścandra's depiction of Māna through a messenger in Dharmaśarmābhyudaya is mentioned.
  • The sorrow of separation due to abduction (like Rāma's lament for Sita) is described poignantly, with poets using natural elements to evoke the hero's pain. The poets' skill in describing physical beauty is also noted as a way to express shringara.

• Hāsya Rasa (Humorous Rasa):

  • Humor is found sporadically, similar to non-Jain mahakavyas.
  • Examples include Jinasenāchārya's depiction of misplaced affection by old men in Ādipurāṇa, Mahāsenāchārya's humorous situation in Pradyumnacharitam where a wife mistakes her co-wife for a goddess, and Vāgbhaṭṭa's portrayal of young women's reactions to Neminātha in Neminirvāṇa.
  • Exaggeration (atiśayokti) due to misunderstanding is common.
  • Some detailed descriptions, which might seem humorous to a modern reader (like Kumbhakarṇa's sleep in Padmapurāṇa), were intended seriously by the poets, aiming to simplify complex philosophical truths.

• Karuna Rasa (Pathos/Sorrow):

  • This rasa is considered very natural and realistic in Jain mahakavyas, possibly due to Jainism's view of worldly existence as suffering.
  • Descriptions of sorrow due to the absence of children are particularly detailed and effective, though the author notes Jain philosophy doesn't necessarily consider childlessness painful, suggesting the Puranas adhere to older traditions.
  • Examples include Rani Śrīkantā's sorrow in Chandraprabhacharita, Hariścandra's emphasis on the importance of a son in Dharmaśarmābhyudaya, Vikramasiṁha's view of a son as great wealth in Jayantavijaya, and Padmavatī's grief in Muni Suvrata Mahakavya.
  • Separation from loved ones also elicits profound sorrow, as seen in Guṇabhadra's depiction of Rukmiṇī's cry for her abducted son Pradyumna in Uttarapurāṇa, and Krisna's grief. The poignant lament of Svayampṛabhā for her abducted daughter-in-law Sūtarā is also noted.
  • Hariścandra's description of Rukmiṇī's longing for Pradyumna after 16 years in Dharmābhyudaya is highlighted for its use of alliteration to convey absence.
  • Descriptions of the sorrow upon the death of loved ones, like Rāma's lament for Lakṣmaṇa in Padmapurāṇa and Balarāma's reaction to Kṛṣṇa's death in Harivanshapurāṇa, are vivid. Rāvaṇa's death and the lament of the Lankans in Padmapurāṇa are also mentioned.
  • The author notes particularly moving descriptions of suffering, such as Añjanā's abandonment and wandering in the forest in Padmapurāṇa, and the poignant portrayal of King Hariścandra unable to give his hungry son a laddoo in Mallināthacharita. The author praises the poets for their psychological depth in these depictions.

• Raudra Rasa (Anger/Fury):

  • This rasa typically appears in descriptions of kings. It arises when one king asserts dominance over another. Causes include demanding tribute, seizing land, or abducting a queen or daughter.
  • Raviṣeṇāchārya's use of denominative verbs to portray Rāvaṇa's anger towards Vaiśravaṇa in Padmapurāṇa is noted.
  • Hariścandra's depiction of Bharata's blind rage in Ādipurāṇa and Guṇabhadra's portrayal of Madhusūdana's anger in Uttarapurāṇa are mentioned.
  • Guṇabhadra's vivid description of Rāma's anger towards Rāvaṇa for abducting Sītā is praised. Udayaprabhasūri's depiction of the Magadha king's reaction to Bharata's actions in Dharmābhyudaya is also highlighted.
  • The anger of Narada Muni is frequently depicted when ignored.
  • Raviṣeṇāchārya uniquely portrays Rāma's anger towards the gods for obstructing Sītā's initiation.
  • The author notes that the depiction of anger, even in cases of psychological realism, might seem contrary to Jain philosophy but is integrated skillfully into the narrative.

• Vīra Rasa (Heroism):

  • This includes Yuddhavīra (heroism in war), Dharmavīra (heroism in righteousness), and Dānavīra (heroism in charity), as well as Dayāvīra (heroism in compassion).
  • Yuddhavīra is prominent in the Puranas, more so than in Mahakavyas. It appears in descriptions of valor, armies, and battlefield prowess.
  • Examples include Vibhīṣaṇa consoling his mother in Padmapurāṇa, Siṁhikā's martial skill in Padmapurāṇa, Rāvaṇa's bravery in Padmapurāṇa described with sāṅgarūpakālaṅkāra, and Dhananjaya's concise portrayal of Rāvaṇa and Jarāsandha's valor.
  • Hariścandra's ornate description of King Mahāsena's sword in Dharmaśarmābhyudaya and his use of simple yet powerful language are lauded. Vāgbhaṭṭa's descriptions in Neminirvāṇa, Abhayadevasūri's comparison of a sword to Yama's tongue in Jayantavijaya, Udayaprabhasūri's unique portrayal of Bahubali's strength in Dharmābhyudaya, and Amarchandrasūri's use of mālopamā for Bahubali's power are noted.
  • Heroes' self-praise to display their pride and confidence is seen, such as Bahubali's response to Bharata in Ādipurāṇa. Vīranandi's depiction of Prince Ajitāñjaya's valor in Chandraprabhacharita is also mentioned.
  • Battle descriptions are vivid, with attention to troop movements and combat.
  • Dharmavīra is shown in characters upholding their vows, like Sītā's chastity against Rāvaṇa's attempts in Padmapurāṇa and Uttarapurāṇa. King Abhayankara's self-sacrifice to save a princess from being sacrificed in Dharmābhyudaya is presented as a unique example of upholding a vow.
  • Dānavīra is depicted in kings' generosity and individuals readily giving away desired objects. Hariścandra's description of King Abhayankara gifting his khaḍgasiddhi vidyā is cited. Megharatha sacrificing his flesh to save a bird in Śāntināthacharita is another instance.
  • Dayāvīra is seen in noble souls risking their lives out of compassion, such as Vidyādharī Ratnachūlā saving Añjanā and Vanamaālā from a lion in Padmapurāṇa, and Neminātha renouncing his marriage upon hearing the cries of animals destined for sacrifice.

• Bhayānaka Rasa (Terror/Fear):

  • This rasa is depicted through descriptions of animals, seasons, forests, battles, terrifying figures, ghosts, and hell.
  • Raviṣeṇāchārya's vivid descriptions of a lion's ferocity in Padmapurāṇa, including the use of sandehālaṅkāra, are highly effective in evoking fear. Guṇabhadra's description of the Kaliya serpent in Uttarapurāṇa is also terrifying.
  • Descriptions of fierce animals are less prominent in Mahakavyas compared to Puranas.
  • Udayaprabhasūri's portrayal of a lion in Dharmābhyudaya is noted for its detailed and fearful depiction.
  • The intensity of seasons, like summer in Vādirājasūri's Pārśvanāthacharita, is described poetically to evoke suffering.
  • Descriptions of fierce battle scenes, rainfall of arrows, and the resulting destruction are vivid.
  • The horror of hellish tortures is described to deter people from wrongdoing, as seen in Padmapurāṇa and Ādipurāṇa.
  • The author notes that while the Bhayānaka Rasa is generally depicted through frightening situations rather than specific characters, the language and style are adapted to evoke fear.

• Bībhatsa Rasa (Disgust/Revulsion):

  • This rasa is primarily found in descriptions of cremation grounds and post-battlefields, and sometimes in depicting repulsive figures.
  • Raviṣeṇāchārya's impactful descriptions of cremation grounds in Padmapurāṇa are noted for their ability to evoke disgust. Jinasenāchārya's description in Ādipurāṇa includes dancing corpses, jackals, and owls.
  • Abhayadevasūri's detailed descriptions of cremation grounds in Jayantavijaya, involving smells, sounds, and ghosts, are praised for their sensory appeal and use of compound words. Bhāwadeva Sūri's description in Pārśvanāthacharita is also noted for its use of harsh consonants.
  • The gruesome aftermath of battles, including the feeding of children with the flesh of fallen warriors, is vividly described in Dhananjaya's Dvisandhāna.
  • The repulsive description of the girl Kulavantā in Padmapurāṇa and Muni Vasiṣṭha in Uttarapurāṇa are mentioned as evoking strong disgust. Raviṣeṇāchārya's depiction of a fetus is also noted.
  • The author observes that while Bībhatsa Rasa is found sporadically, it is integral to the narrative, often incorporating elements like ghosts, demons, stench, blood, and decaying bodies.

• Adbhuta Rasa (Wonder/Astonishment):

  • This rasa is found in descriptions of the Trishashtishalaka Purushas, supernatural events, mythological narratives, and instances of extreme beauty.
  • Tirthankaras are considered to possess miraculous powers. Examples include blind people regaining sight, mute people speaking, and lame people walking upon Neminātha's blessing in Harivanshapurāṇa.
  • The inexhaustible kheer offered to Muni Suvrata is a unique example.
  • Supernatural events like a sword blow turning into a pearl necklace in Ādipurāṇa and a princess being freed from suffering by Mahāvīra's presence are cited.
  • The influence of Tirthankaras extends to animals and even inanimate nature.
  • Pradyumna's foretold return and the accompanying natural wonders are mentioned from Pradyumnacharitam.
  • Miraculous feats by Munis, like a Muni's charanodaka transforming a swan's body in Padmapurāṇa, and the arrival of Muni Bahubali bringing prosperity in Ādipurāṇa are highlighted.
  • The beauty of characters is often described to evoke wonder. Hariścandra's portrayal of the supernatural beauty of the king's future daughter-in-law in Dharmaśarmābhyudaya is noted. The beauty of Dharmanātha inspiring comparisons to celestial beings is also mentioned. The minister Vasantapāla's extraordinary beauty in Vasantavilāsa is said to confuse even celestial beings.
  • The prowess of characters, like King Nala taming an elephant despite being a hunchback in Dharmābhyudaya, is described with wonder.
  • The author notes that while Adbhuta Rasa is more prevalent in Puranas for mythological descriptions, Mahakavyas focus more on the beauty aspect.

• Shanta Rasa (Serenity/Peace):

  • This is the dominant rasa in Jain mahakavyas, reflecting the Jain emphasis on renouncing worldly pleasures to achieve the "three jewels" (ratnatraya). While other rasas depict the "pre-aspect" of life, Shanta Rasa represents the "post-aspect."
  • Poets effectively portray the transient and ultimately painful nature of worldly pleasures, even when they appear sweet. Jinasenāchārya's depiction of worldly attractions in Ādipurāṇa is highlighted.
  • The relentless nature of human desire and the importance of renunciation are stressed, comparing desires to mirages. The instability of wealth and life itself are emphasized.
  • Criticism of wealth and women is present, portraying them as unreliable and deceptive.
  • The impermanence of youth and the inevitability of old age are depicted with vivid analogies.
  • The concept of the cycle of birth and death in the world is illustrated through metaphors like the arghaṭṭa (water wheel) in Padmapurāṇa.
  • The idea of asharaṇa-bhāvanā (contemplation of helplessness) is seen in descriptions of inevitable death and the inability to escape Yama's clutches.
  • The glory of Dharma is praised as the sustainer of the world and the path to liberation. The importance of truth, self-control, and penance is stressed.
  • The repulsive nature of the physical body is described as part of ashuchi-bhāvanā (contemplation of impurity).
  • The destructive nature of the four passions (kashāyas) is criticized, and the path to overcoming them through knowledge is outlined.
  • The poems often depict saints engrossed in meditation, oblivious to their surroundings.
  • A unique aspect is the sudden realization of renunciation triggered by events like meteor showers.
  • The article concludes by noting that while Shanta Rasa was not originally part of Bharata's Natya Shastra, its inclusion shows the influence of Buddhist and Jain philosophies. Jain poets have skillfully incorporated the twelve contemplations (anuprekshās) of Jain philosophy within the Shanta Rasa.
  • Overall, the analysis of all rasas reveals that Jain poets gave equal importance to all four purushārthas (goals of human life), with Shanta Rasa being the ultimate focus. The article provides a critical overview of the rasas in nineteen Jain Sanskrit Mahakavyas, with limited verse citations due to space constraints.

The article aims to provide a glimpse into the beautiful poetic rendering of various rasas by Jain poets. For a more detailed study, readers are referred to the author's doctoral thesis.