Krushna Rukmini Sambandh - Book Summary

Here's a comprehensive summary of the Jain text "Krushna Rukmini Sambandh" by Kanubhai V. Sheth, based on the provided pages:

Overview and Introduction:

The text "Krushna Rukmini Sambandh," authored by Kanubhai V. Sheth, is a significant Jain narrative poem that recounts the marriage of Lord Krishna and Rukmini. This work is presented as a "Sambandh" (relation or connection), a recognized genre in Jain narrative literature alongside "Ras," "Charitra," "Chopai," "Katha," and "Prabandh." The introduction highlights the enduring appeal of storytelling for disseminating religious beliefs and mentions the rich tradition of Jain narrative literature created by Jain scholars and monks, which often glorifies virtues like penance, chastity, self-control, and renunciation. This specific work focuses on the Jain interpretation of Krishna's story, specifically his elopement with and subsequent marriage to Rukmini.

Manuscript Details and Editorial Approach:

The present edition of "Krushna Rukmini Sambandh" is based on two available manuscripts:

Prat A: Housed in the Muni Shri Punyavijayji Manuscript Bhandar, Bharatiya Sanskriti Vidyamandir, Ahmedabad. It has 13 folios, with the present work transcribed from folios 1 to 3. Each folio measures 26.2 x 11.0 cm, with approximately 19 lines per folio. The manuscript is written in Devanagari script with black ink, with stanza numbers in red. The writing date is not recorded but is estimated to be from the 18th century based on the writing style. The colophon reads: "Ruti Sheet vishaye Jaal Samaas, Pan. Harsh Lit. Tam." This manuscript is considered primary.
Prat B: Located in the Manuscript Granthbhandar, Sanvegi Upashray, Ahmedabad, with reference number 2795. It has 6 folios, with the work transcribed from folios 4 to 6. Each folio measures 25.5 x 11 cm, with about 20 lines per folio. The manuscript is also in Devanagari script with black ink, and stanza numbers are in red. It has a 2 cm margin on both sides, and folio numbers are on the right side. The writing date is also estimated to be from the 18th century. The colophon states: "Iti Shri Sheet vishaye Krishna Rukmini Chaupai Samapt, Pandit Mahimakumaragani."

The editor, Kanubhai V. Sheth, notes that the work has been referred to by various names like "Phag" or "Chaupai" in earlier publications and colophons. However, based on internal evidence, particularly verses mentioning "Sambandh" (e.g., verse 107 and 110), and the lack of typical "Phag" elements like descriptions of spring or monsoon, the editor concludes that the work is indeed a "Sambandh."

Synopsis of the Story (Katha Saar):

The "Krushna Rukmini Sambandh" is a 111-verse "Sambandh" poem detailing the well-known Jain traditional narrative of Krishna and Rukmini's marriage. The story unfolds as follows:

Narad's Intervention: In Dwarka, Krishna and his brother Balram rule. The sage Narad arrives and is welcomed. Later, Narad visits Krishna's inner chamber and finds Satyabhama preoccupied with her adornment, ignoring him. Annoyed by this perceived disrespect, Narad decides to teach her a lesson and, using his aerial powers, flies to Kundinpur.
Narad's Visit to Kundinpur: In Kundinpur, King Rukmi rules, and he has a beautiful sister named Rukmini. Narad meets Rukmini, who respectfully offers him a seat. Narad then describes Krishna's beauty, virtues, and fortune to Rukmini, creating a deep attraction in her towards Krishna.
The Painting and Krishna's Desire: Narad then arranges for Rukmini's portrait to be painted. He takes this portrait to Krishna in Dwarka and shows it to him. Upon learning it's Rukmini, Krishna expresses his desire to marry her, and Narad promises to fulfill his wish.
Rukmi's Rejection: Krishna sends a messenger to seek Rukmini's hand from King Rukmi. Rukmi, arrogant and disdainful, rejects the proposal, stating he would not give his sister to a cowherd's son. He declares he has promised Rukmini to the virtuous Shishupal, comparing it to a jewel needing gold, not brass.
Rukmini's Cousin's Plan: Rukmini, overhearing the envoy's conversation with Rukmi, confides in her paternal aunt (foi). The aunt recalls a prophecy from Muni Atimukta that Rukmini would become Krishna's chief queen, assuring Rukmini. The aunt then secretly sends a messenger to Krishna, instructing him to come to Kundinpur on the eighth day of the dark fortnight, where Rukmini would meet him in the garden under the guise of snake worship.
The Elopement: Following the plan, Krishna, accompanied by Balram, arrives in Kundinpur. Meanwhile, Shishupal also arrives with his retinue for the wedding. Narad informs Krishna of Shishupal's arrival. Krishna and Balram proceed to the garden meeting place. Rukmini, with her aunt, also arrives at the snake temple. Krishna, upon seeing Rukmini, is struck by her even greater beauty than described by Narad. He urges Rukmini to board his chariot without delay. Rukmini, following her aunt's instructions, gets into the chariot. To create a public spectacle and avoid direct blame, the aunt shouts, alerting everyone that Krishna is eloping with Rukmini. Krishna then sounds his conch shell, "Panchajanya."
The Battle and Balram's Prowess: Hearing the conch, King Rukmi and Shishupal pursue Krishna with their armies. Rukmini expresses her fear to Krishna, highlighting the vast enemy force. Krishna reassures her and demonstrates his strength by cutting down many palm trees with a single arrow and crushing a diamond from his ring like camphor. As Krishna prepares to fight, Balram tells him to take Rukmini and proceed, promising to follow. Balram then engages the enemy with his mace. Rukmini asks Krishna to tell Balram not to kill her brother Rukmi, due to their familial ties. Krishna leaves with Rukmini. Balram confronts the armies, crushes soldiers, routs cavalry, and causes Shishupal to flee. Narad, observing from the sky, taunts the fleeing Shishupal.
Rukmi's Defeat and the New City: King Rukmi then confronts Balram. Balram shoots an arrow, cutting off Rukmi's beard and mustache and tells him he's sparing his life due to Rukmini's plea. Rukmi, instead of fleeing, stays and founds a new city called Bhojkantak. Balram establishes a pillar of fame there. Afterward, they return to Dwarka.
Rukmini's Installation as Chief Queen: Upon reaching Dwarka, Krishna tells Rukmini to live as she pleases in his palace. Rukmini expresses concern about her status, feeling like a captive. Krishna then performs a Gandharva marriage with her and spends the night together. The next morning, Krishna takes Rukmini to the temple of Lakshmi. He moves the Lakshmi idol and places Rukmini in its place, instructing her to remain still like Lakshmi when Satyabhama arrives. Krishna then enters the city, and his queens ask about the girl he brought. He states she is at the Lakshmi temple. Satyabhama and others visit the temple but don't see a maiden. Mistaking the seated Rukmini for Lakshmi, Satyabhama bows and prays for Krishna to favor her with the beautiful girl. Satyabhama then confronts Krishna, calling him deceitful. Krishna replies that there is no fault in bowing to a sister and that she will fulfill all her wishes. Satyabhama, angered, leaves. Thus, Krishna establishes Rukmini as his chief queen among his eight wives. The text notes that Narad, seeking to stir up strife, plays a role in this.
The Significance of Chastity and Conclusion: The poet concludes by emphasizing the glory of chastity (Shil). He mentions that the "Sambandh" is composed based on the "Shilopadeshmala" by Jayakirti. The poem was created in the year 1676 (1620 AD) in Navahar Nagar. The poet traces his guru tradition, explains the importance of chastity, and offers blessings.

Analysis of the Poem as a Work of Literature:

The poem begins with an invocation to Goddess Saraswati for eloquent words, followed by salutations to Parshvanath and Lord Mahavir, and remembrance of gurus like Jinadattasuri and Jinkushalsuri. The poet then introduces himself and states his intention to sing the "infinite virtues of chastity." The first canto introduces Narad's chastity and praises chastity itself, proposing the "beautiful example of Rukmini and Bhama" as support. The description of Dwarka is brief, only two lines, emphasizing its beauty and grandeur. The narrative quickly moves to Narad's arrival at Krishna's court. The poet's narrative style is described as swift and engaging, demonstrating his skill in storytelling.

The depiction of Satyabhama's preoccupation and Narad's subsequent anger is vividly portrayed, showcasing the poet's visual style. Narad's quick journey to Kundinpur using his aerial powers is concisely rendered. Krishna's single-line description of Rukmini's beauty ("She is like Rati-Rambha in beauty, her body is like a tender banana trunk") is highlighted as an excellent example of the poet's descriptive power. Krishna's yearning for Rukmini is beautifully expressed through his words to Narad, showing his deep desire.

The dialogue between the envoy and King Rukmi, sent to seek Rukmini's hand, is presented dramatically. Rukmi's use of an analogy to explain Krishna's unsuitability compared to Shishupal showcases the poet's skillful use of rhetoric. Rukmini's aunt's role in arranging the clandestine meeting is crucial. The description of the first meeting between Rukmini and Krishna is poignant, with Rukmini remarking on her even greater beauty than Narad described. Krishna's eagerness to meet Rukmini is conveyed through a simile comparing himself to a bee drawn to a flower.

The text emphasizes the poetic devices used, such as onomatopoeia and reduplication, to effectively convey emotions. Balram's prowess in battle is described with vivid imagery. Shishupal's cowardly flight is compared to a jackal's. Narad's dramatic pronouncements from the sky add to the narrative's flair. Balram's humiliating defeat of Rukmi, by cutting his beard and mustache, is depicted humorously. The conversation between Krishna and Satyabhama regarding Rukmini is presented dramatically, and Satyabhama's anger at the revelation of Krishna's trick is vividly described. The poem concludes by reiterating the theme of chastity and the source of inspiration from "Shilopadesh."

Key Themes and Moral:

The central theme of the poem is the glorification of chastity (Shil). The narrative, while focusing on the dramatic events of Krishna and Rukmini's marriage, ultimately serves to illustrate the importance of virtue and righteousness. The story highlights how divine intervention and adherence to dharma can lead to favorable outcomes. The interactions between characters, particularly Narad's actions and the consequences, underscore the impact of pride and disrespect. The poem also implicitly praises the role of sincere devotion and following divine guidance.

Literary Style and Language:

The poem is written in an accessible and engaging style, employing a swift narrative pace. The language is characterized by evocative descriptions, dramatic dialogues, and the use of similes and metaphors. The poet skillfully uses various metrical patterns (referred to as "Dhal") and traditional Rajasthani-Gujarati poetic forms to enhance the narrative flow and emotional impact. The inclusion of "Footnotes" (Padantaro) indicates a scholarly approach to preserving and presenting the text, noting variations in different manuscripts.