Kirtiratnasuri Rachit Neminath Mahakavya

Here's a comprehensive summary of the Jain text "Kirtiratnasuri Rachit Neminath Mahakavya" by Satyavratsinh, based on the provided pages:

Overall Focus:

This document is a scholarly analysis and appreciation of the Neminath Mahakavya, a significant Jain epic poem composed by Acharya Kirtiratnasuri (also known as Kirtiraj). The analysis delves into the author's life, the poem's structure, content, literary qualities, and its place within the tradition of Sanskrit and Jain Mahakavyas.

Key Sections and Their Content:

Page 1: Introduction to the Kharatargachchha Tradition and Kirtiratnasuri

• Succession System: The text begins by explaining the well-organized succession system within the Kharatargachchha tradition. It highlights how prominent Acharyas appointed capable individuals as secondary Acharyas to ensure a smooth transition of leadership in case the main pontiff (Yugapradhana Acharya) passed away prematurely or was absent. This also involved a formal enthronement ceremony.
• Lineage and Appointments: It traces a lineage of important Acharyas like Vardhamanasuri, Jineshwarasuri, Buddhisagarasuri, Jinchandrasuri, Abhayadevasuri, Jinavallabhagani, Devabhadrasuri, and Somachandragani, detailing their appointments and roles.
• Kirtiratnasuri's Rise: The text specifically mentions Acharya Jinabhadrāsurī (15th century) who appointed Kirtiraj as an Acharya, bestowing upon him the name Kirtiratnasuri. Kirtiratnasuri succeeded Jinabhadrāsurī. He is described as a highly learned and influential scholar of his time, with 51 disciples, including Gunaratnasuri and Kalyanachandra. His ancient idol is worshipped at the Nakoda Parshvanath pilgrimage site. His lineage has produced many poets and scholars.
• The Role of the Author/Analyst: The text introduces Professor Satyavrat 'Trishit' from the Sanskrit department of Government College, Sri Ganganagar, as the one presenting a critical study of this epic.

Page 2: Overview of the Neminath Mahakavya and its Mahakavyatva

• Literary Tradition: The Neminath Mahakavya is placed in a lineage of esteemed Jain Mahakavyas, following the tradition established by Nemnath Upadhyayakrita Neminath Mahakavya. Kirtiraj is identified as a poet who, while adhering to the stylistic norms of poets like Magha and Harsha, carved out his own unique and tasteful path, moving beyond artificiality and excessive ornamentation.
• Poem's Structure and Content: The epic has a grand scope of twelve cantos (Sargas). It narrates the inspiring life and key events of Neminath, the 22nd Tirthankara, with appropriate epic elaboration.
• Invocation and Prologue: The poem begins with a salutation (Namaskara), offering reverence to Neminath's feet, described as a lotus cherished by gods. The beginning also includes praise for the virtuous and condemnation of the wicked.
• Setting and Descriptions: The text notes the poet's adherence to the convention of city descriptions with a picturesque portrayal of Samudravijaya's capital.
• Canto Naming: Each canto is named according to its content, fulfilling Vishvanath's criteria for epic composition.
• Use of "Chitrakavya": The poet incorporates "Chitrakavya" (picture-poems) while following the guidelines of Jain scholars like Hemachandra and Vagbhata.
• Adherence to Classical Mahakavya Criteria: The poem largely fulfills the traditional criteria for a Mahakavya as defined by ancient Indian rhetoricians:
  • Structure: It has the required eight plus twelve (eighteen) cantos.
  • Hero: Neminath is the hero, described as divine-like, born in a Kshatriya lineage, and possessing the "Dhirodāt" quality.
  • Rasas: The primary rasa is Shringara (eroticism), with Karuna (pathos), Vira (heroism), and Raudra (anger) appearing as secondary or incidental rasas.
  • Subject Matter: The plot is derived from established history or tradition, concerning Neminath's life.
  • Goal: The aim is the attainment of Dharma (righteousness) and Moksha (liberation), signifying moral upliftment and ultimate well-being.
  • Themes: The poem signifies the attainment of the highest state by renouncing worldly attractions.
  • Descriptions: It includes extensive descriptions of cities, mountains, mornings, forests, envoys (symbolic), battles, armies, births, festivals, seasons, etc.
  • Required Elements: The inclusion of five "Sandhis" (unions or divisions of the plot) and avoidance of excessive worldly attractions are expected.

Page 3: Analysis of Plot Structure (Sandhis) and Poetic Elements

• Sandhi Analysis: The analysis of the Sandhis within the poem is detailed:
  • Mukha Sandhi: Canto 1, depicting the descent of Jineshwara into Shivadevi's womb, contains the seed of the plot.
  • Pratimukha Sandhi: Cantos 2-3, from the dream vision to the birth, show the plot developing, though the initial seed becomes less discernible and the child's birth becomes the focal point.
  • Garbha Sandhi: Cantos 4-8 are considered Garbha Sandhi, where the outcome remains concealed within the narrative of the ritualistic birth, coronation, and celebration.
  • Vimarsha Sandhi: Cantos 9-11 represent Vimarsha Sandhi, where Neminath's acceptance of the marriage proposal creates an obstacle to the main goal. However, the compassionate cries of the sacrificial animals at the bride's home lead to his renunciation and the certainty of achieving the ultimate goal.
  • Nirvahana Sandhi: The end of Canto 11 (completion of Kevalgyan) and Canto 12 (attainment of Moksha) constitute Nirvahana Sandhi.
• Mythological vs. Classical Mahakavya: While acknowledging the presence of mythological elements (like the divine conception and the presence of Dikpālakumārīs), the text argues that the Neminath Mahakavya should not be classified as a purely mythological epic. The strong presence of classical Mahakavya features overshadows its mythological aspects.
• Balancing Form and Content: The poem exhibits the characteristic of "Vaisamya" (discrepancy) between subject matter and expression, common in later classical Mahakavyas. While it has extensive descriptions of events, the language possesses a noble grandeur and maturity.
• Creative Elements: The poet's use of "Chitrakavya" aims to create wonder and showcase his skill. The heartfelt use of metaphors, enumeration of rasas, descriptions of nature and human beauty, and use of melodious meters are highlighted. The text concludes that the overall nature and atmosphere of the poem align with classical Mahakavyas, making its classification as such appropriate.

Page 4: Poet's Introduction and Period of Composition

• Lack of Autobiographical Information: The text notes that, like most Jain works, Kirtiraj's Neminath Mahakavya lacks explicit praise of the poet, making direct knowledge of his life and period difficult.
• Reconstruction of Life: The poet's life has been reconstructed based on other historical inscriptions.
• Kirtiraj's Identity: Kirtiraj was a prominent and influential Acharya of the Kharatargachchha. He belonged to the Sankhavalagotriya Shah Kachar dynasty, being the younger son of Depa.
• Birth and Initiation: Born in 1446 (Samvat) from Devalade, his birth name was Delhakumvar. He took initiation at the young age of fourteen in 1463 (Samvat). His literary guru, Jinavardhanasuri, gave him the name Kirtiraj.
• Appointments and Acharya Title: Jinavardhanasuri appointed him as Vachanasuri in 1470 (Samvat) and later as Upadhyaya in 1480 (Samvat). While traveling in the eastern regions, Jinabhadrasuri, recognizing his merit, conferred the Acharya title on him in 1467 (Samvat), after which he became known as Kirtiratnasuri.
• Death: Kirtiraj passed away in Virampur in 1525 (Samvat) at the age of 76, after 25 days of fasting.
• Legacy: His brothers Lakhha and Kelha organized a grand festival for his enthronement. His disciples established his stupas and foot-imprints in various places, and composed hymns.
• Period of Composition: Based on his appointments, the Neminath Mahakavya is estimated to have been composed between 1480 and 1467 (Samvat). An ancient manuscript from 1465 (Samvat) confirms this period.

Page 5: Summary of the Plot (Kathanak)

The page provides a detailed synopsis of the twelve cantos:

• Canto 1 (Chyavanakalyana Varnan): Describes the descent of the 22nd Jina into the womb of Shivadevi in Suryapur, the capital of Yadav king Samudravijaya. The poet masterfully paints a vivid picture of Suryapur.

• Canto 2: Shivadevi experiences fourteen traditional dreams.

• Canto 3: Samudravijaya consults astrologers who interpret the dreams, foretelling the birth of a divine son. Shivadevi gives birth to a radiant child.

• Canto 4: Celestial damsels perform the birth rituals.

• Canto 5 (Meru Varnan): Indra takes the infant to Mount Meru for the birth consecration ceremony, which includes a description of Meru.

• Canto 6: A charming description of the infant's ritual bath (Snanotsava).

• Canto 7: Samudravijaya rejoices upon hearing about his son's birth, releases prisoners, and prohibits animal sacrifice. He organizes a grand festival. The child is named Arishtanemi.

• Canto 8: Describes Arishtanemi's physical beauty and the six traditional seasons. Neminath blows the Panchajanya conch, causing fear. Krishna assures him of his own position.

• Canto 9: Neminath's parents and Krishna's wives try to persuade him into marriage, arguing that worldly pleasures are the source of happiness and thus a shortcut to salvation. Neminath firmly rejects their arguments, stating that worldly pleasures are detrimental to the soul. However, to fulfill his mother's wish, he agrees to marry, with the wedding arranged with Rajimati, the daughter of Ugrasena.

• Canto 10: Neminath proceeds to the bride's house. Descriptions of eager city girls are included. Hearing the cries of the animals prepared for the feast at the bride's home, Neminath feels remorse and renounces the wedding to take up asceticism.

• Canto 11: The first half describes Rajimati's sorrowful lament after being abandoned. The second half depicts the fascinating "battle" between delusion (Moh) and self-control (Sanyam). Delusion is defeated, and Neminath attains Kevalgyan.

• Canto 12: The Yadavas go to Ujjayanta mountain to worship the omniscient Prabhu. Neminath's sermon leads some to take initiation and others to embrace lay discipleship. He sends Rajimati to the path of liberation and soon after departs to the supreme abode to join his beloved.

• Critique of Plot Development: The text notes that the plot, though concise, is expanded with various descriptions, dialogues, and hymns. This expansion, while filling the canvas, can dilute the plot development and disrupt the natural flow. The poet's focus seems to be more on descriptions than on narrative progression, as evidenced by the delayed report of the son's birth. However, the text acknowledges that this was a common practice in Mahakavyas of that era, where thematic expansion was valued.

Page 6: Poetic Conventions Used

• Poetic Conventions: The text identifies and analyzes two prominent poetic conventions used in the poem:
  • Morning Descriptions (Prabhat Varnan): Kirtiraj's description of dawn is praised for its freshness and emotional depth, surpassing mere repetition or displays of knowledge. It is compared favorably to Kalidasa's and Magha's descriptions, capturing the natural beauty of the morning. The text also notes the use of conventions like horses licking salt and elephants not opening their eyes due to pride.
  • Eager City Girls: The convention of describing city girls eager to see the hero is also present, starting from Ashvaghosha and continuing through Kalidasa, Magha, and Harsha. Kirtiraj's portrayal of their excitement is deemed realistic and relatable.
• Modesty in Descriptions: Unlike some poets who depicted falling garments or nudity, Kirtiraj, adhering to Jain principles, avoids such explicit descriptions. He describes a girl's upper garment slipping off due to fear of smudging her makeup, maintaining modesty.

Page 7: Character Portrayal

• Limited Characters, Developed Personalities: The poem features a limited cast of characters, but the analysis focuses on their portrayal.
• Neminath: The hero, presented in a mythological context. He is divine, powerful, and radiant from birth. His strength is evident in blowing the Panchajanya and defeating Krishna. He is a Vitaraaga (detached from worldly passions), unswayed by youthful pleasures. His conviction that worldly pleasures are enemies of the ultimate good is firm. He believes true happiness lies in the spiritual realm. He prioritizes spiritual discipline over sensory gratification. He is also a devoted son, agreeing to marriage to please his mother, but ultimately renouncing it upon hearing the cries of sacrificial animals.
• Samudravijaya: Neminath's father, a virtuous king with regal qualities – handsome, powerful, wealthy, and intelligent. He effectively uses his strengths in practical life. He is a benevolent ruler who inspires loyalty through fair taxation. He is also deeply religious, valuing the Arhat dharma above all else. His state is prosperous and peaceful, characterized by timely rains, rich earth, and a content populace. He governs based on a balance of strength, forgiveness, and prudence.
• Ugrasena: The text mentions Ugrasena, king of Bhoja, as a humane, skilled ruler, a refuge for the distressed, and a repository of virtues. Both Lakshmi and Saraswati reside with him. He pacifies hostile kings with gifts of daughters.

Page 8: Other Characters and Nature Descriptions

• Other Characters:
  • Shivadevi: Neminath's mother, whose character is not extensively developed.
  • Symbolic Characters: The text highlights the symbolic characters of Emperor Moh (Delusion) and Sanyam (Self-Control). Moh, through his envoy Kaitava, orders Sanyam to leave Neminath's heart-fortress. Sanyam's minister, Shuddha Viveka (Pure Reason), responds to the envoy.
• Nature Descriptions: Nature plays a significant role, contributing to the poem's emotional richness and poetic beauty. Kirtiraj shows originality in his descriptions, unlike later poets who focused on the suggestive aspect of nature for depicting romantic scenes. He displays a love for the natural aspect of nature.
• Detailed Observation: Kirtiraj's descriptions of nature reveal his keen observation. He connects with his subject, creating vivid and lifelike scenes. His description of winter (Hemanta), noting the shortening days and increasing fog, is marked by emotional depth. His depiction of autumn (Sharad) is also praised.
• Nature as Stimulus (Uddipana): The poem also uses nature as a stimulus for human emotions, as seen in the description of monsoon clouds and lightning that ignite passion. Nature is personified, with the sun portrayed as a jealous lover and the lotus as his beloved.
• Idealized Nature: In some instances, nature is portrayed idealistically, behaving contrary to its natural tendencies.
• Enumeration Style: Kirtiraj also employs an enumerative style, listing various trees.
• Nature as a Host: Nature is also presented as a welcoming host.

Page 9: Detailed Nature Descriptions and Beauty Portrayal

• Yamak and Natural Descriptions: The use of Yamak (rhyme) in conjunction with nature descriptions enhances their beauty.
• Personification: The poem features personification of nature, where natural elements act with human emotions. For example, the sun is depicted as angry upon seeing the lotus with bees (representing other lovers).
• Ethical Dimensions in Nature: The text notes how Kirtiraj portrays vines, though blooming, engaging in external intimacy with young men, reflecting a less strict moral outlook compared to the purity-oriented Jain tradition. However, this is presented with a degree of acceptance.
• Idealized Nature Again: Some nature descriptions are idealized, where nature acts in ways that defy its natural characteristics.
• Enumeration: An example of enumeration of trees is provided.
• Descriptive Power: The text highlights Kirtiraj's ability to create vivid imagery through descriptions, such as the description of the Sabha (assembly hall).
• Emotional Resonance: The descriptions are noted for their emotional depth and ability to evoke feelings in the reader.

Page 10: Beauty Portrayal and Rasas (Emotions)

• Beauty Descriptions: Kirtiraj excels in depicting physical beauty, particularly of Rajimati and celestial damsels, often using the "Nakhshikha" (fingernail to hair) style. He utilizes traditional similes but imbues them with freshness, creating captivating portraits.
• Comparative Beauty: He employs contrast (Vyāti-rek) to highlight the unique beauty of his characters, comparing Rajimati's facial beauty to the moon that hides its face in shame after being surpassed by her.
• Rasas (Emotions):
  • Shringara (Erotic): This is the dominant rasa, with other rasas supporting it. Seasonal descriptions are rich in romantic imagery.
  • Raudra (Anger): A powerful depiction of Indra's anger is presented in Canto 5.
  • Vira (Heroism): Seen in the dialogues between Moh's envoy and Sanyam's minister Viveka.
  • Karuna (Pathos): Evident in Rajimati's lament after Neminath's renunciation.
• Emotional Expression: Kirtiraj effectively uses poetic situations to convey the emotions of characters, enriching the poem's beauty.

Page 11: Language and Style

• Purity and Flow: The language of the Neminath Mahakavya is praised for its clarity, fluency, and elegance. The poet's mastery over language is evident, avoiding unnecessary embellishments, thus achieving a balance between emotional depth and artistic presentation.
• Adaptability of Language: The language adapts to the context and emotions, being both sweet and energetic. The seventh canto is particularly noted for its clarity and simplicity.
• Sound Devices: The skillful use of alliteration (Anupras) and rhyme (Yamak) adds a melodious quality.
• Sweetness in Shringara: The language used for describing tender emotions is described as soft, beautiful, and intoxicating, employing flowing phrases.
• Ojas in Anger/War: Conversely, the language becomes powerful and energetic when describing anger and war, creating an appropriate atmosphere.
• Maxims and Proverbs: The poem includes wise sayings and proverbs, enhancing its connection with the common people and its impact. Examples of pithy sayings are provided.

Page 12: Language (Continued), Doṣa (Flaws), and Desha Śabda (Local Words)

• Clarity in Ethical Discourse: The language used for moral pronouncements is simple, gentle, and tender.
• Energy in Conflict: The language is described as vigorous and impactful when depicting conflict and anger, creating the intended atmosphere.
• Specific Examples: Passages describing Indra's anger and the battle between Moh and Sanyam are highlighted for their energetic language.
• Criticism of Language:
  • Complex Compounds (Samasa): Some critics note the use of unnecessarily complex compound words in certain contexts, particularly in battle descriptions, where simpler language might have been more effective.
  • Forced Words for Meter: The text points out instances where extra words are seemingly inserted to fit the meter, a flaw known as "Adhika" (excess) in Sanskrit poetics.
• Local Words (Desha Śabda): The use of some local words like "vichala" (for battlefield) and "gandika" (for throne) is noted. "Vichala" is still in use in Punjabi.
• Alluring Language: The language of the poem is described as having a unique charm, being appropriate, mature, natural, and fluent, thus enriching Sanskrit literature.

Page 13: Panditya Krida (Scholastic Play) and Alamkara Vidhana (Use of Figures of Speech)

• Scholastic Play: In the twelfth canto, Kirtiraj attempts to impress with "Chitra Alankaras" (picturesque figures of speech) and "Panditya" (erudition). However, the text notes that the number of such verses is small, and Kirtiraj's refined taste generally prevented him from indulging excessively.
• Criticism of Scholasticism: These complex verses are considered difficult to understand without commentary and may hinder the enjoyment of the poem. However, they also demonstrate the poet's vast scholarship and skill.
• Alamkaras (Figures of Speech):
  • Word and Sense Figures: Both word (Shabdalaṁkāra) and sense (Arthalaṁkāra) figures are extensively used but seamlessly integrated without stifling the emotions.
  • Subtlety: The use of figures of speech is natural, enhancing the poem's beauty.
  • Specific Examples: Upama (simile), Utpreksha (hyperbole), Drishtanta (illustration), Rupaka (metaphor), Arthāntaranyāsa (generalization), Samāsa-okti (suggestion), Atishayokti (exaggeration), and Ullēkha (description of multiple aspects) are mentioned.
  • Metaphorical Comparisons: Examples include comparing the divine ritual bath to the act of transferring knowledge from a guru to a disciple, and the moon to a lover afraid of the bee-humming lotus.
• Yamak (Rhyme): Yamak is used extensively and tastefully, especially in romantic contexts, adding to the melody. The poem also features "Shlokardhayamak" (rhyme in half-verses).
• Wordplay: The text highlights examples of clever wordplay, particularly in the twelfth canto, demonstrating the poet's linguistic dexterity and skill in creating word puzzles.

Page 14: Chandoyojana (Metrical Arrangement)

• Mastery of Meter: Kirtiraj is a master of meter, employing numerous verses.
• Dominant Meters: Anushtubh meter is prominent in Cantos 1, 7, and 9.
• Variety of Meters: The poem utilizes a wide range of meters, with Upajati (a combination of Indravajra and Upendravajra) being the most frequent.
• Canto-wise Meter Usage: The text lists the meters used in specific cantos, showing a diverse selection including Vasantatilaka, Vamshastha, Pramitakshara, Rathoddhata, Shardulavikridita, Malini, Mandakranta, Arya, Viyogini, and others.
• Total Meters: In total, twenty-five different meters are used, demonstrating the poet's command of prosody.
• Publication: The original text was published by Yashovijaya Granthamala Bhavnagar in 1970 (Samvat), followed by a modern commented edition.

Page 15: Mādhavīrī Dadā Śrojinchandrasūrijō and Dillipati Rājā Madanapāla

• Supporting Image: The final page contains an image caption referencing "Mādhavīrī Dadā Śrojinchandrasūrijō and Dillipati Rājā Madanapāla," with a location mention of "Mahavir Swami's Temple, Calcutta." This suggests a possible connection or tribute related to these figures and the temple, perhaps indicating a later patronage or appreciation of the work or the tradition it represents. This is separate from the primary analysis of the Mahakavya itself but indicates a broader context of Jain heritage and historical figures.

In essence, the document provides a thorough academic review of Kirtiratnasuri's Neminath Mahakavya, praising its adherence to classical Mahakavya conventions, the poet's unique style, vivid descriptions, skillful use of language and figures of speech, and its contribution to Jain literature, while also acknowledging some minor stylistic criticisms.