Khushfaham Siddhichandragani Krut Neminath

Here's a comprehensive summary of the provided Jain text, focusing on the author and the work "Neminath Chatuhmasakm":

This document introduces Siddhichandragani, a learned Jain monk and disciple of Upadhyay Bhanuchandra. Both master and disciple were honored figures in the court of Emperor Akbar. Upadhyay Bhanuchandra was known for reciting a thousand Sanskrit names of the Sun every Sunday for Akbar. Historian Badauni notes that the Emperor, like Brahmins, would face east in the morning and worship the Sun, reciting its thousand names in Sanskrit.

Siddhichandra, as a prominent disciple, also pleased Emperor Akbar. It was through his intervention that Akbar's prohibition on constructing temples on Shatrunjaya (Siddhachal) was lifted. Siddhichandra also taught Akbar many works in the Persian language, catering to the Emperor's curiosity.

The text further mentions another Jain monk, Shantichandra, who also greatly impressed Akbar by composing and reciting a Sanskrit poem titled "Parashora." This led to Akbar's commitment to animal welfare and the abolition of taxes like "Jaziya." Shantichandra was a "Shatavadhani" (one who could retain a hundred things in memory simultaneously). Siddhichandra, too, possessed this remarkable ability. Impressed by Siddhichandra's demonstrations, Akbar bestowed upon him the title "Khushfaham" (meaning "quick-witted" or "understanding").

The text recounts an anecdote where Akbar, with great affection, offered Siddhichandra a high position with a mansab of five thousand horses and a jagir, urging him to become a king and abandon his ascetic attire. However, Siddhichandra remained steadfast in his monastic vows.

Siddhichandra also contributed to scholarship by writing the commentary on the latter half of the "Uttar Khand" of Banabhatta's "Kadambari," while his guru, Bhanuchandra, wrote the commentary on the "Purva Khand." The colophon of Siddhichandra's commentary highlights his achievements: he was a teacher of a thousand names (likely referring to the Sun's names, as with his guru), a conqueror of arrogant debaters, knowledgeable in six Shastras, a reader of Persian, and a devotee whose heart was like a lotus, frequented by Emperor Akbar. He bore the title "Khushfaham" bestowed by the Shah. The colophon also states that Siddhichandra, the disciple of Vachak Chandr, composed this commentary for the benefit of beginners.

The text notes that Siddhichandra, while proficient in Sanskrit and Persian, was also a skilled Gujarati poet. A short, elegant "Chomasik Kavya" (a four-month poem) composed by him in Gujarati was provided by the late Mohanlal Dalichand Desai. This poem reveals Siddhichandra as a Gujarati poet. He also wrote a Gujarati prose abridgment of the "Jeth Sthan" for interested readers, published in "Purat Taimasik" in 1927.

The "Neminath Chatuhmasakm" itself is a testament to Siddhichandra's study of the Persian language. This work comprises compositions for each of the four monsoon months (Shravan, Bhadrapada, Ashwin, and Kartik). For each month, there is a "Duha" (couplet) followed by a "Harigeet" (a specific meter). The last word of the fourth line of the Duha is integrated into the beginning of the Harigeet, creating a "linked" structure.

The author notes that the "Harigeet" meter used by Siddhichandra, from which meters like "Gajgati" and "Sarsi" later evolved, often features internal rhymes (anupras) in pairs or triplets. While "Charanu Ritu Geeto" (songs of seasons by Charans) are known medieval poetic forms, no examples predating 200-250 years have been found. In comparison, Siddhichandra's "Enum" (likely referring to the monthly compositions) is a precursor and thus more ancient. The composition dates to the first half of the 17th century, and the availability of significant historical information about its creator makes this poem a rare find in Gujarati poetry.

The document then presents the four monthly compositions:

• Shravan (Flowers): Describes the rainy season, with the chakva bird calling "piu-piu" and peacocks announcing themselves. The Harigeet section speaks of the peacock's joy, lightning, and the sorrow of Virahini Rajul separated from her beloved. It concludes with the joy of meeting the "Sai" (Lord) in the Shravan season.
• Bhadarvo (Water): Depicts swollen rivers and creeper-like vines visited by humming bees. The Harigeet section describes bees buzzing, the playful actions of lovers, and the immense sorrow of those separated from their husbands, longing for their lords. It ends with Siddhichandra's aspiration to remember the Lord.
• Aaso (Moonlight): Mentions the beauty of the Ashwin month, the moon, and clear water with lilies. The Harigeet describes the delight of swans, the difficulty of nights for the separated, the longing for the beloved, and the desire for pleasant love. It concludes with Siddhichandra's wish to be filled with the Lord's love.
• Kartik (Festival): Describes the Kartik month as auspicious, with abundant harvests and the celebration of Dipavali. The Harigeet section portrays women adorning themselves, homes filled with joy and kumkum, and the guru's teachings to Rajul on Mount Revatachal. It concludes with Siddhichandra wishing for the Lord's auspicious union.

In essence, the document provides biographical details of the influential Jain monk Siddhichandragani, highlighting his scholarly achievements, his positive impact on the Mughal court, and his artistic contributions, particularly the "Neminath Chatuhmasakm" as a notable work in Gujarati literature.