Madanrekha Akhyayika - Book Summary

Based on the provided text, here's a comprehensive summary of Jinabhadrasūri's Madanarekha Ākhyāyikā:

1. Introduction and Context:

The Madanarekha Ākhyāyikā (MRA) is a Sanskrit romance composed in a Campū style, meaning it mixes prose and verse.
It elaborates on a Jain mythological story centered around Madanarekha, who is presented as an ideal of marital fidelity.
The text is notable for being an ākhyāyikā, a literary genre that was rare in Sanskrit literature, with Bana's Harşacarita being the only other well-known example.
The author, Jinabhadrasūri, lived approximately between the late 12th and early 13th centuries of the Vikrama Era (roughly 1125-1225 AD).
The work was commissioned by a follower named Bilhana, who wished to hear the detailed life story of the saintly King Nami, a Pratyeka-buddha in Jainism. The MRA is thus also considered a Namicaritra (life of Nami).

2. Preceptorial Genealogy and Date:

Jinabhadrasūri traces his lineage back through several prominent Jain monks:
- Municandrācārya (died V.S. 1178)
- Jinacandrasūri (co-disciple of Devācārya, flourished likely between V.S. 1150 and 1225)
- Candraprabhācārya (possibly 13th century V.S.)
- Nemicandra (successor to Candraprabhācārya)
Identifying these figures precisely is challenging due to the recurrence of names and complex lineage structures in Jain monastic history, but the author's contemporary figures like Kumarapala (Calukya king), Hemacandracārya, Vadidevasūri, Dhanapala, Śripala, and Jesala help establish a general timeframe.

3. The Plot and Motifs:

The story unfolds over five Ucchvāsas (chapters):

First Ucchvāsa: Introduces the work, salutes Jinas and preceptors, praises good people and Jain poets. It lays out poetic norms and the author's lineage. The proper story begins with King Maniratha of Sudarsana city in Avanti.
Second Ucchvāsa: King Maniratha sees Madanarekha, his younger brother Yugabahu's wife, and becomes infatuated. He attempts to seduce her through gifts and a Buddhist nun as a messenger. Madanarekha, however, rejects the seduction and upholds chastity. The king, blinded by passion, vows to possess her.
Third Ucchvāsa: Maniratha, after sending Yugabahu away on a pretext, personally visits Madanarekha. She firmly rejects his advances, reminding him of his noble birth and her vow of fidelity. The king returns disappointed. Madanarekha dreams of a full moon, interpreted as a sign of a great son. She expresses her desire to worship Jinas and proclaim the prohibition of slaughter. The story then shifts to Yugabahu and Madanarekha enjoying themselves in a garden.
Fourth Ucchvāsa: Maniratha, armed, goes to the garden to murder Yugabahu. He succeeds in killing him. Madanarekha, upon realizing her husband's death and fearing for her son Candrayaśas, flees to a forest. She gives birth to a son in the wilderness. The child is found by King Padmaratha of Mithila, who, being childless, adopts him. Madanarekha is rescued from a wild elephant by a Vidyādhara and taken to Mount Vaitādhya. She requests to visit Nandiśvara, where she meets her spiritual brother Manicuḍa, who preaches abstinence to the Vidyādhara. Manicuḍa recounts the past lives of Madanarekha's sons, revealing their noble origins and spiritual journeys. A divine being descends and pays homage to Madanarekha first, recognizing her as an ideal of chastity.
Fifth Ucchvāsa: Madanarekha eventually renounces the world and becomes a nun. Her adopted son, Nami, grows up, marries, and becomes king. King Padmaratha retires, entrusting the kingdom to Nami. Later, Nami's elder son, Candrayaśas, and Nami come into conflict over a royal elephant. Madanarekha intervenes, revealing their brotherhood, which reconciles them. Candrayaśas renounces the world, leaving Nami to rule. The narrative concludes with Nami as a righteous king, fulfilling spiritual duties.

4. Key Themes and Motifs:

Marital Fidelity (Patrivrata Dharma): Madanarekha embodies this ideal, resisting temptation and upholding her virtue.
Austerity and Renunciation: The story emphasizes the Jain ideals of asceticism, penance, and the ultimate goal of liberation (mokşa).
Karma and Rebirth: The narrative alludes to the law of karma and the cycle of rebirth, explaining the characters' destinies through their past actions.
Moral Instruction: The text is rich in didactic passages, refuting materialism (Carvaka views), advocating abstinence, and promoting Jain ethical principles.
Royal Villainy and Virtue: The contrast between the lustful King Maniratha and the virtuous Madanarekha, Yugabahu, and later Nami and Candrayaśas, is a central element.
The Power of Good Company and Teachings: The influence of spiritual preceptors and teachings is shown to transform even passionate individuals like the Vidyādhara.

5. Literary Style:

Campū Style: The mixture of ornate prose and various Sanskrit metres.
Śleşa (Puns and Double Meanings): The author demonstrates a masterful use of śleşa, often splitting syllables to create multiple meanings within words and phrases, a characteristic prevalent in classical Sanskrit romances.
Descriptions: The MRA features vivid descriptions of nature, seasons, human beauty, royal courts, and religious ceremonies, often drawing inspiration from earlier Sanskrit romances.
Didacticism: Jinabhadrasūri, being a preacher, integrates moral and religious teachings seamlessly into the narrative, often in the form of dialogues or verses.
Characterization: While adhering to traditional roles, characters like Madanarekha are portrayed with depth, showcasing her intelligence, courage, and steadfastness.

6. Sources and Innovations:

The basic story of Madanarekha and Nami is found in Jain scriptures, particularly the Uttarādhyayana Sūtra, and its commentaries.
Jinabhadrasūri builds upon existing traditions, adding embellishments, character nuances, and integrating the story of Madanarekha as the central focus while still acknowledging Nami's significance.
His style is influenced by prominent Sanskrit romance writers like Subandhu, Bana, Dhanapala, and Trivikramabhatta.

7. Socio-Cultural Data:

The text offers glimpses into social structures, marriage customs (e.g., rituals involving fire, rice grains), naming conventions for children, and the general lifestyle of the period.
It reflects the patronage of Jain religious literature and the active role of wealthy patrons in financing religious works.
The text also depicts philosophical debates, particularly refuting Carvaka materialism and advocating for a Jain ascetic lifestyle.

8. Commentaries:

The edition includes an anonymous tippaṇa (marginal commentary) and extensive Sanskrit explanatory notes by Pt. Bechardas J. Doshi, enhancing the text's accessibility and scholarly value.

In essence, Jinabhadrasūri's Madanarekha Ākhyāyikā is a significant contribution to Sanskrit Campū literature, blending a captivating romance with profound Jain philosophy and ethical teachings, all while showcasing the author's literary artistry and deep understanding of classical traditions.