Kavyanushasanam

Here is a comprehensive summary in English of the provided Jain text, "Kavyanushasanam" by Hemchandracharya, as analyzed by Hasu Yagnik:

This analysis, part of the "Anusandhan-53 Shri Hemchandracharya Visheshank Bhag-1" (Research-53 Special Issue of Shri Hemchandracharya Part-1), focuses on the study of medieval Gujarati narrative literature. The author, Hasu Yagnik, argues that Hemchandracharya's Kavyanushasanam (Treatise on Poetics) is the singular, most important, and objective documented reference for understanding the origin and development of narrative genres in medieval Gujarati literature, particularly from the tenth century onwards.

Yagnik criticizes the prevalent scholarly view that genres like Akhyan (narrative performances) were entirely new creations of the 14th-15th centuries, with Bhalan credited as their "father." He asserts that Hemchandracharya's work, a treatise on Sanskrit poetics, provides crucial insights that have been largely overlooked by scholars of medieval Gujarati literature.

The author highlights several key points:

• Continuity from Apabhramsha: Yagnik contends that practices like presenting Puranic stories in indigenous lyrical forms and the use of the kadavaka (a verse structure) were already established in Ras literature (a type of narrative poem/song) by the 10th-12th centuries. The concept of Akhyan, as a self-contained work for singing, reading, and minimal acting, originated and was refined in the Apabhramsha period itself. To believe Akhyan as a direct legacy of Apabhramsha born and perfected only in later centuries is seen as factual ignorance.
• Oral Traditions Ignored: A significant portion of the analysis addresses the neglect of oral traditions and folk epics (Kantha Pravahna Lok Mahakavyo) in academic study. Yagnik points out that numerous oral narratives existed in various regional dialects of New Indo-Aryan languages from the 10th to 14th centuries, such as 'Alha', 'Dhola Gaan', 'Bagdavat Katha', 'Pabuji Katha', and various Ram and Krishna stories. These were not always documented in written form as cohesive literary works. The tendency to classify all such traditions as belonging to Sanskrit is a misunderstanding, stemming from the fact that the analysis of these traditions was often found in Sanskrit treatises, leading scholars (primarily Sanskrit scholars) to focus solely on the written, canonical literature.
• Broader Definition of Literature: Yagnik advocates for a multi-dimensional, multi-disciplinary, and comparative approach. He argues that earlier Indian scholars, unlike modern ones, did not limit "literature" to merely written, word-centric art. They considered the visual-auditory aspects, the mode of presentation, and the integration of music, dance, and drama. The Sanskrit term "Sangit" (music) is more nuanced than the English "music," encompassing performance aspects beyond just sound. Similarly, dramatic arts were understood through rasa (aesthetic flavor), psychological elements, and propriety (auchitya). This holistic view of art was comprehensive and well-developed.
• Kavyanushasanam's Significance: The text emphasizes Hemchandracharya's Kavyanushasanam as a coordinating work (Samanvayakar). While summarizing existing theories, it also presents his unique insights and forward-looking principles. Yagnik uses the example of the "Hansavati" story, illustrating how various retellings of the same story by different authors (from Asait to Shivdas) evolved with changes in language and social context, reflecting the author's perspective and creative vision. This shows that such works are not merely "old wine in new bottles," but often involve distinct "vintages."
• Hemchandracharya's Unique Approach: Yagnik contrasts Hemchandracharya's views on the purpose of poetry (kavya-prayojana) with those of Mammata. While Mammata lists fame, wealth, worldly wisdom, and the destruction of misfortune, Hemchandracharya emphasizes pleasure, fame, and affectionate instruction. This illustrates Hemchandracharya's distinctive approach in areas like rasa, bhava (emotion), dosha (flaw), guna (quality), and alankara (figure of speech).
• Chapter 8: The Key to Narrative Forms: Chapter 8 of Kavyanushasanam is particularly important for understanding medieval Gujarati narrative traditions, including both written and oral forms. Hemchandracharya's classification of Prabandha (structured narrative works) is considered comprehensive and widely accepted. He divides it into Prekshya (performable/dramatic) and Shravya (audible), further categorizing them into lyrical, textual, epic, Akhyayika, Katha, Champu, and dramatic forms.
• Classification of Narrative Types: The analysis delves into Hemchandracharya's detailed classification of eleven types of narrative works, including Upakhyana, Akhyana, Nidarshana, Pravalika, Manthallika, Manikulyā, Sakala-katha, Upakatha, and Brihat-katha. This classification is seen as a significant contribution, going beyond earlier attempts by authors like Bhamaha and Dandin, which were often limited to broad distinctions between Katha and Akhyayika.
• Defining Prabandha, Ras, and Akhyan: Prabandha is defined as a work where a main story is presented with a beginning, middle, and end, in prose, verse, or both. This definition encompasses Ras, Akhyan, and Padya Varta (narrative in verse). Ras is specifically identified as narrative works in lyrical dhal (melodies) and deshi (vernacular forms) within the Jain tradition, while Akhyan is used for narrative works in similar lyrical forms in non-Jain traditions. Padya Varta refers to narratives primarily using duha and chopai verse forms. Yagnik stresses that these are distinct types within the broader category of Prabandha.
• The Case of Historical Narratives and Pavadā: Yagnik corrects the notion that the term Prabandha exclusively refers to historical narratives like Kanhaḍade Prabandha. He argues that Pavadā (ballads), a distinct genre originating from Maharashtra and linked to Maharashtrian Apabhramsha, has its own roots and should not be conflated with Prabandha. The term Pavadā likely entered Gujarat through Marathi-speaking populations.
• Inclusion of Folk Epics: Hemchandracharya's inclusion of "gramya bhasha" (folk dialect) in the context of epic composition signifies his recognition of contemporary spoken language and its literary potential. This demonstrates his awareness of living folk traditions and their value. The use of terms like "sak" (for 'sarga' or canto) in folk epics connects to ancient Vedic vocabulary, highlighting a deep cultural continuity.
• The Importance of Nidarshana and Pravalika: The text highlights the significance of Nidarshana (illustrative narratives used for teaching a point or argument) and Pravalika (narratives involving debate on a subject). Nidarshana includes animal stories (fables) and parables. Pravalika involves a chain of illustrative stories where each side in a debate uses narrative examples to support their argument.
• Manikulyā and Detective Narratives: Manikulyā is described as a type of story where the initial cause is not evident, but later revealed through clever deduction or analysis of clues. This is akin to modern detective stories and is exemplified by the story of Charudatta in Vasudev-Hindi.
• Broader Cultural Significance: The analysis concludes by emphasizing that Hemchandracharya's works, particularly Kavyanushasanam, serve as primary documented evidence for understanding the origins and development of Gujarati culture, literature, music, and dance from the 10th-11th centuries onwards. His works capture the unique essence of Gujarati identity and cultural practices, predating later influences from Arabic, Persian, and European cultures. Hemchandracharya is presented as the foremost scholar of his era who laid the foundation for understanding Gujarat's cultural heritage.

In essence, Hasu Yagnik's analysis champions Hemchandracharya's Kavyanushasanam as an indispensable resource for anyone studying medieval Indian, and specifically Gujarati, literature and culture, urging a re-evaluation of scholarly perspectives to incorporate its rich insights, particularly concerning oral traditions and a broader understanding of literary artistry.