Kavi Kankan Chihal Punarmulyankan

Here's a comprehensive summary of the provided Jain text, "Kavi Kankan Chihal punarmulyankan" by Krushna Narayan Prasad:

The text is an in-depth re-evaluation of the Jain poet and saint, Kavi Kankan Chihal. The author, Dr. Krushna Narayan Prasad 'Magadh', meticulously examines the existing scholarship and Chihal's literary contributions, aiming to correct previous misinterpretations and present a more accurate understanding of the poet.

Part (a): Existing Information about Kavi Kankan Chihal

The author categorizes the existing information into two types:

1. First Type (General Information): This includes reports and literary histories that are largely informative but often considered dubious, inaccurate, and of limited historical value. Examples cited include:

   • Jain Gurjar Kavi: This Gujarati work erroneously identifies Chihal as a non-Jain poet and quotes parts of his 'Panch Saheli'.
   • Khaj Report (Nagari Pracharini Sabha): The first information in Hindi identifies Chihal as a resident of Rajputana and 'Panch Saheli' as a Dingal composition.
   • Mishrabandhu-Vinod: Places Chihal in the Saur Kal period, likely based on 'Jain Gurjar Kavi'.
   • History of Hindi Literature (Acharya Ramchandra Shukla): Places Chihal among miscellaneous poets of the Bhakti period, misjudging 'Panch Saheli' as not good poetry and mentioning a 'Bavani' of 52 couplets. The author refutes Shukla's assessment as based on misinformation.
   • Critical History of Hindi Literature (Dr. Ramkumar Verma): Repeats Shukla's views and incorrectly associates Chihal with Krishna devotional poets.
   • Origin and Development of Hindi Literature (Acharya Hazariprasad Dwivedi): Mentions 'Panch Saheli' as a secular love story, whereas the author asserts it is a religious love narrative.
   • Hindi Literature Encyclopedia (Vol. 2): Information is considered flawed, based on previous histories.
   • Rajasthani Language and Literature (Dr. Motilal Menaria): Considers Chihal a Rajasthani poet and 'Panch Saheli' a unique work.
   • Rajasthani Language and Literature (Dr. Hiralal Maheshwari): Provides cursory information on 'Panch Saheli' and 'Bavani'.
   • Bibliography of Jain Manuscript Libraries of Rajasthan: Mentions 'Panch Saheli', 'Bavani', and 'Atmapratibodh Jaymal'.
   • Scientific History of Hindi Literature (Dr. Ganapati Chandra Gupta): Praises 'Bavani' as a successful moralistic poem but doesn't mention other works.

2. Second Type (Scholarly Evaluations): This category includes works that offer research-based evaluations of Chihal's writings.

   • Panch Saheli (1943): A scholarly publication of the text based on a manuscript, noting its Rajasthani influence.
   • Braj Bhasha and its Literature Before Sur (1958): Dr. Shivprasad Singh gives Chihal due importance, discussing 'Panch Saheli' and 'Bavani', and mentions 'Panthi Geet' and 'Atmapratibodh Jaymal'.
   • Development of Moralistic Poetry in Hindi (1960): Dr. Ramswaroop considers 'Bavani' a work of colloquial Rajasthani and lists 'Panthi Geet', 'Udar Geet', and 'Phutkar Geet'.
   • Hindi Jain Bhakti Kavya and Poets (1965): Dr. Premsagar Jain further elaborates on Chihal, discussing 'Panch Saheli', 'Panthi Geet', 'Udar Geet', and 'Panchindriya Veli', and mentioning 'Bavani'. This work brings three new works to light.
   • Jain Mysticism in Apabhramsha and Hindi (1965): Dr. Vasudev Singh discusses 'Atmapratibodh Jaymal' as a "self-illumination or address of the soul" but provides misleading information about other works.
   • Printed Text of Bavani (1966): Krishnachandra Shastri publishes a text of 'Bavani', which the author later republishes in a more accurate form.
   • Hindi Bavani Kavya (1968): The author's own PhD work provides a comprehensive analysis of 'Bavani'.

The author notes that the first type of information is insufficient and misleading, while the second type offers valuable scholarly insights.

Part (b): Biography of Chihal

Chihal's biography is largely unknown. A verse from his 'Bavani' states that he was born in the Agrawal clan of the Nalhag (or similar variations) lineage, and his father's name was Sinathu (or Nathu). The variations in the text point to possible linguistic differences in the manuscripts. Based on these clues, it's inferred that Chihal belonged to the Nalhag/Nating/Naning lineage or the Nalh/Nalhi village, of the Agrawal clan, and his father was Sinathu or Nathu. He gained fame as 'Kavi Kankan' for his poetic skills. There is no information about his guru tradition or life events.

Based on the geographical references in his works (e.g., mention of ponds in 'Panch Saheli'), scholars like Mishrabandhu and Acharya Shukla speculated he was from Rajputana. The Rajasthani influence in his language also supports this. While his birth region is uncertain, it's likely he made Rajasthan his place of work.

Mohanchand Dalichand Desai's assertion that Chihal was a non-Jain poet is refuted by the fact that his works extensively praise Jain deities. The presence of his manuscripts solely in Jain manuscript libraries further solidifies his Jain identity.

Part (c): Time Period of Chihal

Two of Chihal's works mention their composition dates:

• Panch Saheli: V.S. 1575 (1518 CE)
• Bavani: V.S. 1584 (1527 CE)

This suggests Chihal was actively composing between V.S. 1575 and 1584. 'Panch Saheli' is considered his earliest work, likely composed around the age of twenty to twenty-two, suggesting a birth year of around V.S. 1555 (1498 CE). He was alive at least until V.S. 1584. In general, Chihal was active in the latter half of the 16th century CE.

Part (d): Works of Chihal

The following works have been found in Jain manuscript libraries:

1. Panch Saheli (V.S. 1575)
2. Bavani (V.S. 1584)
3. Udar Geet
4. Panthi Geet
5. Panchindriya Veli
6. Atmapratibodh Jaymal

Some scholars also mention 'Re Man Geet', 'Jag Sapna Geet', and 'Phutkar Geet', which the author believes might be alternative names for 'Panthi Geet' and 'Panchindriya Veli'.

Detailed Analysis of Works:

• d/1 Panch Saheli:

  • Considered Chihal's earliest work, comprising 68 couplets, dated V.S. 1575 (with some manuscripts suggesting V.S. 1574).
  • The story is set in the pleasant city of Chanderi. It depicts five village maidens – a gardener's wife, a betel-seller's wife, a tailor's wife, a confectioner's wife, and a goldsmith's wife – expressing their deep sorrow and longing for their absent husbands during the spring festival.
  • Each maiden uses metaphors related to her profession to articulate her pain of separation.
  • The poem describes their eventual reunion with their husbands during the rainy season, signifying the end of their suffering.
  • The author highlights that 'Panch Saheli' is a significant erotic poem of the 16th century, undervalued by earlier critics. Dr. Shivprasad Singh aptly calls it an "incomparable erotic poem of the sixteenth century," noting its natural and fresh use of imagery, and suggesting its influence on later Riti period poetry.
  • The author interprets 'Panch Saheli' allegorically, where the five maidens represent the soul (Jivatma) and the husband represents the Supreme Being (Paramatma). The separation and longing then symbolize the soul's yearning for spiritual union. The physical descriptions are seen as a metaphor for mystical union.
  • It is also recognized as a narrative poem with a consistent plot, a rarity for its time in Hindi.

• d/2 Bavani:

  • Contrary to Acharya Shukla's description, 'Bavani' contains 53 Chhappay verses (or 54 in some manuscripts), not 52 couplets.
  • Composed in V.S. 1584, it's where the title 'Kavi Kankan' is used, indicating his established fame.
  • The first five verses are invocations ('Om Namah Siddhah'), and the rest are arranged alphabetically (Nagari script), omitting certain vowels and consonants.
  • Thematically, 'Bavani' focuses on practical morality and admonition according to Jain principles. Topics include self-control, remembrance of God, virtue, fame, the transience of time, prompt action, destiny, gratitude, wisdom, humility, and renouncing negative traits.
  • While the themes are traditional, the presentation, depth, and choice of examples are original and masterful, making it an excellent moralistic poem. The author notes Chihal's skill in adapting Sanskrit sayings and proverbs into his own style.
  • The author demonstrates Chihal's affinity for Sanskrit literature through comparative examples. 'Bavani' is deemed a unique treasure of Hindi moralistic poetry, with its teachings being personally, socially, religiously, and spiritually valuable.

• d/3 Udar Geet:

  • This work consists of four excellent devotional verses.
  • It describes the human condition from the womb to death as being characterized by ignorance and attachment to worldly pleasures, leading to a lack of devotion to Jin (or the Supreme Being) and preventing liberation.
  • The verses describe the pain of being in the womb, the forgetfulness of infancy, the aimless wandering of youth driven by lust and greed, and the regret of old age for not pursuing spiritual goals.
  • The author finds these verses comparable to similar songs in Tulsidas's 'Vinay Patrika', highlighting their introspective and self-realizing nature.

• d/4 Panthi Geet:

  • A short but excellent allegorical work in six verses.
  • It uses a parable, likely derived from popular tradition (and with parallels in the Mahabharata and Jain texts), to teach the ephemeral nature of worldly existence.
  • The parable describes a traveler lost in a forest who faces dangers like an elephant (symbolizing Yama), a well, serpents, a python, and mice (representing day and night) while holding onto reeds (symbolizing hope for life). Dripping honey from a beehive provides temporary pleasure, making him forget his plight.
  • The author provides the allegorical interpretation: traveler = soul, forest = ignorance, elephant = Yama, well = world, reeds = hope for life, serpents = directions, python = Nigoda, mice = day/night, honey drops = sensory pleasures.
  • The concluding verse urges the soul to awaken from the slumber of delusion and seek the path of liberation shown by the Jinendras, as worldly pleasures are deceptive and transient.
  • This type of allegory was popular among Jain mystics.

• d/5 Panchindriya Veli:

  • A four-verse devotional work where the poet addresses the mind.
  • It admonishes the mind against straying into the forest of sensual desires, attachment, and the illusion of worldly possessions (home, body, wealth, children).
  • It emphasizes that human life, obtained after many births, is rare and should not be wasted on ephemeral pleasures, which are like poison compared to the nectar of serving Jinendra.
  • The verses stress the importance of Dharma (righteousness), compassion, contemplating the Arihants, and renouncing others' wealth, women, and criticism.
  • The final verse highlights that remembering Jinendra's name can destroy the sins of Kali Yuga and that a pure heart is essential for spiritual contemplation.
  • The author notes the strong devotional and admonitory tone, comparing it to Kabir's 'Chetauni Ko Ang' or Tulsidas's 'Vinay Patrika'. The 'Kundaliya' meter is used.

• d/6 Atmapratibodh Jaymal:

  • This work is in Apabhramsha, not Hindi, as some scholars suggest.
  • It consists of thirty-one "kadwaks" (stanzas).
  • The poet begins by venerating Arihants, Nirgranthas, Kevalis, and Siddhas.
  • The title indicates the theme: self-illumination, address, and admonition of the soul.
  • Chihal extensively discusses the nature of the soul, lamenting his own entanglement in worldly affairs and his ignorance of the true self due to attachment to family and possessions.
  • He defines the soul as pure, characterized by perception and knowledge, blissful, free from greed and anger, and encompassing the essence of the Tirthankaras and other divine figures.
  • The central theme is self-awakening and directing the mind towards devotion to Jinendra, as forgetting the true self leads to suffering. The work concludes with a similar veneration as it began.
  • While containing more philosophical and spiritual content than other works, its primary goal is to guide the mind towards devotion. It reflects Chihal's sectarian beliefs more overtly.

Part (e): Excellence and Achievements

• Chihal was a Jain devotional poet and a mystic saint, holding a significant place in Hindi literature comparable to poets like Kabir and Tulsidas.
• His poetry is primarily devotional but also encompasses spirituality, ethics, morality, detachment, duty, and eroticism.
• The verses are characterized by introspection, a portrayal of the mind's natural tendencies, and constant admonitions to the reader.
• The author emphasizes that Chihal's poetry stems from personal experience, making it deeply relatable and reflective of his inner realization.
• While devotional themes (especially humility and repentance) dominate works like 'Panthi Geet', 'Udar Geet', 'Panchindriya Veli', and 'Atmapratibodh Jaymal', 'Bavani' leans more towards serene contemplation and moral instruction, thus being classified as moralistic poetry.
• 'Panch Saheli' is a significant erotic poem, also interpreted as a metaphor for the soul's yearning for the divine, and is praised for its sensual expression, placing it after Vidyapati's 'Padavali' in Hindi's erotic poetry history.
• Structurally, most works are "muktaka" (free verse), though 'Panch Saheli' and 'Panthi Geet' have narrative elements, making them successful allegorical poems. 'Panch Saheli' in Doha meter is akin to a unified narrative.
• Chihal favored meters like Doha, Chhappay, and Kundaliya. His language is considered a precursor to Braj Bhasha, with some Rajasthani influence, particularly in 'Panch Saheli', likely due to its early composition. The author argues that this regional influence is a characteristic of the era and not a flaw.
• Despite being a Jain, Chihal freely incorporates elements from non-Jain history and mythology, showcasing his sectarian tolerance and broad-mindedness.
• His primary motivation was always to express his inner feelings, making his works deeply personal.
• Overall, Chihal is presented as a great devotional poet of his era, and his title 'Kavi Kankan' is deemed fitting, reflecting his widespread popularity.