Madhyakalin Gujarati Sahitya Pratiksha Padkar Ane Samprapti - Book Summary

Here's a comprehensive summary of the provided Jain text, "Madhyakalin Gujarati Sahitya: Pratiksha, Padkar ane Samprapti" by Kantilal B. Shah, based on the provided pages:

The author, Kantilal B. Shah, begins by expressing his gratitude for being invited to speak at the convention. He initially felt a slight hesitation due to his primary focus being on research and editing of medieval Gujarati literary works, rather than broader literary critique. However, he was encouraged by the Minister, Shri Ratilal Borisaagar, who emphasized the importance of discussion and diversity of subjects in such presentations. He was also motivated by a concern expressed by the outgoing President, Shri Kumar Pal Desai, in his "President's Letter" in 'Parab' magazine regarding the neglect of research, editing, and publication of medieval Gujarati literary works.

The Central Theme: Medieval Gujarati Literature - Waiting, Challenges, and Achievements

Shah sets the theme of his speech as "Medieval Gujarati Literature: Waiting, Challenges, and Achievements." He clarifies that his discussion will draw from his own limited experience in research and editing, using his work as illustrative examples.

The Current State: A Sense of Neglect and a Void

A prevalent sentiment in the literary world, Shah notes, is that medieval Gujarati literature is being pushed to the margins. This is evident in:

A decrease in the editing and publication of such works.
A reduction in their inclusion in school and college curricula.
A declining interest among academics in studying this period of literature.

He acknowledges the truth in these observations and states that they cannot be ignored.

The Passing of Stalwarts and the Emergence of a Challenge

Adding to this concern, Shah highlights the recent passing of several prominent scholars who significantly contributed to medieval Gujarati literature through their research, editing, and guidance. These include Bhogilal Sandesara, Harivallabh Bhayani, K.K. Shastriji, Jayant Kothari, Shivalal Jesalpura, Ramanlal Chimanlal Shah, and Bhupendra Trivedi. Their absence has created a sense of a "void" or "emptiness" in the field. However, he views this void not as a cause for lament but as a "challenge" that needs to be embraced.

The National Mission for Manuscripts and the Unveiling of Literary Riches

Shah then discusses the ongoing survey of manuscripts by the National Mission for Manuscripts in New Delhi. This mission estimates the existence of 40 lakh manuscripts in India, with 10 lakh in Gujarat alone, encompassing various regional languages and subjects, including medieval Gujarati literature. However, the author stresses that their work cannot stop at mere surveys or lists. The ultimate goal is to reveal the vast literary wealth preserved within these manuscripts. He states that hundreds, if not thousands, of medieval literary works remain bound in the dusty corners of various repositories, awaiting our attention and the light of their revelation.

The Nuances of Manuscript Editing: More Than Just Transcription

Shah emphasizes that manuscript editing is not simply a matter of transferring text from one paper to another. It demands complete preparation and capability. This involves:

Manuscript selection: Choosing the right manuscript for study.
Script reading: Deciphering the historical scripts.
Understanding of the contemporary language: Knowledge of the linguistic forms of the period.
Textual determination: Establishing the authentic text.
Textual selection based on other manuscripts: Comparing and selecting readings from multiple copies of the same work.

He highlights the challenges posed by errors introduced by the scribes themselves, where sometimes another version of the work is necessary for correction. The editor's aim is to reach the original creator's intent. As an example, he cites the phrase "bhramuh-kamani" (eyes like bows of arrows) in "Gunaratnakar Chhand," where some manuscripts presented an incorrect reading, "bhramuh-kamini" (a beloved), altering the meaning. He quotes Bhayani: "The question is not just to print and make manuscripts accessible, but to make them authoritative."

Beyond Pronunciation: The Importance of Context and Interpretation

Shah further elaborates on the critical aspects of editing:

Pronunciation differences: While some pronunciation variations in manuscripts with no diacritical marks might be overlooked, significant pronunciation shifts that alter the meaning or sensory world of the text require careful note. He illustrates this with the example of "ganika bhav" (prostitute's nature) versus "ganika bhāva" (feelings of a prostitute) in "Gunaratnakar Chhand," where the latter subtle difference changes the character's emotional landscape from mere profession to a deeper love, enhancing her personality.
Other textual considerations: Beyond pronunciation, word synonyms, metrical structure, rhyme, and poetic beauty also serve as bases for textual selection.

The State of Prose Literature: Underdevelopment and Potential

Comparing prose and poetry in medieval Gujarati literature, Shah notes that prose is considerably less prevalent. It includes works like "Balavbodhs" (commentaries/explanations), prose stories, narratives, "Pattavalis" (genealogies), question-answer formats, "Auktik" (moral sayings), and "Vijnapti Patro" (announcements). However, Balavbodhs and the prose stories within them constitute a significant portion of medieval prose literature. He stresses the need for concentrated research and study of these Balavbodhs. He points out that the "Jain Gurjar Kavis" (second edition) lists nearly a thousand Balavbodhs, yet fewer than thirty have been published. This signifies a vast amount of work remaining. He also mentions that many Balavbodhs are attributed to unknown authors, and some works have been created by multiple individuals.

Balavbodhs as a Window to the Past Language

Shah emphasizes the importance of Balavbodhs for studying the linguistic patterns of the time. While poetry, due to its meter, is often slightly elevated from natural speech, the prose in Balavbodhs preserves the natural form of language. The illustrative stories within them, with their rich vocabulary of everyday words and conversational style, are particularly close to reality and feel more vivid. He also notes the conciseness achieved through short, verb-less sentences in some narrative passages, such as: "Gandhar country. Strong king. He has a son Shakuni. Gandhari has eight daughters. But all eight are like celestial nymphs."

"Upadeshmala Balavbodh": An Early Prose Work and its Significance

He then discusses the "Upadeshmala Balavbodh" by Somasundarsuri, a commentary on Dharmadasganis's Prakrit work "Upadeshmala" (composed of 544 verses). This Gujarati Balavbodh, dated Sambat 1485 (1428 CE), is the oldest known Balavbodh on the subject. The manuscript he used for editing was written just 14 years after the work's composition, thus preserving the linguistic characteristics of that era. He notes the prevalent use of the contemporary suffix 'hui' instead of the later 'ne' for the instrumental case.

The author of the Balavbodh, Shah explains, systematically provides partial references to each verse, offers synonyms, and translates and expands upon the content in a way that allows for a clear understanding of the subject in the contemporary language.

The Literary Value of Balavbodhs: Rich with Illustrative Stories

Beyond its religious instructional purpose, Shah highlights the literary achievement of the "Upadeshmala Balavbodh" lies in its approximately 80 small and large illustrative stories (drishtanta kathao). Most of these stories are presented separately after the main narrative. They feature the lives of monks, emperors, virtuous women, kings, ministers, and merchants. Additionally, stories involving non-human beings like gods and animals, allegorical tales, and those with problem-solving elements are also found. He points out a recurring theme of relatives harming each other, with instances of mothers harming sons, sons harming fathers, fathers harming sons, brothers harming brothers, wives harming husbands, and friends harming friends.

He mentions that Merusundar's "Shilopadesh Balavbodh" contains 43 such stories. Thus, Balavbodh authors enriched their translations of Sanskrit and Prakrit works with illustrative stories, thereby creating story collections. However, he clarifies that not all Balavbodhs contain these illustrative stories; for instance, the "Upadeshmala Balavbodh" by Nannasuri, composed in Sambat 1543 (1486 CE), is merely a translation of the original Prakrit verses.

K.K. Shastriji's Call for Balavbodh Publication

Shah quotes K.K. Shastriji's earnest request that any institution, be it Jain or non-Jain, dedicated to publishing Gujarati language and literature, should consider a project for the publication of Balavbodhs.

"Gunaratnakar Chhand": A Poetic Gem from the Medieval Period

He then discusses his doctoral thesis on "Gunaratnakar Chhand," a significant unpublished work composed by Sahajasundar in Sambat 1572 (1515 CE). This research led him to examine works designated with the term "Chhand" and their nature.

Medieval works sometimes used syllable-based meters (akshar-mel) and often syllable-count meters (matra-mel) in forms like "Padya Varta" and "Prabandh." In forms like "Rasa" and "Akhyan," these meters, originally developed from syllable-count meters, became vehicles for expression. Some of these works are identified by their dominant meter, like 'Maru Dhola Chopai' or 'Madhavanal Kamakandala Dogdhak.' But what does the term "Chhand" itself signify when applied to a work?

The Charani Tradition and its Influence

Shah suggests that "Chhand" likely originates from the Charani (bardic) tradition. This tradition utilized syllable-based meters, syllable-count meters, and Dingal (a poetic dialect) meters, including forms like Bhujangaprayat, Paddhari, Vriddhanarach, Rola, Lilavati, and Motidam. In this tradition, the work is experienced through listening (shravan) rather than just reading, making chanting (Chhandogan) a crucial medium. To enhance this chanting, the Charani tradition places significant emphasis on sound-based elements such as alliteration, end rhyme, word repetition, rhythmic effects, pronunciation of conjunct consonants, and onomatopoeic wordplay.

"Ranmall Chhand" and "Rangaratnakar Neminath Chhand" as Precursors

Before "Gunaratnakar Chhand," two notable works designated with the term "Chhand" were available: "Ranmall Chhand" by Shridhar Vyas (Sambat 1454 / 1397 CE) and "Rangaratnakar Neminath Chhand" by Lavanyasamay (Sambat 1546 / 1500 CE). Both these works, Shah states, support his preceding observations.

"Gunaratnakar Chhand": A Unique Contribution with Poetic Excellence

"Gunaratnakar Chhand" is a distinct addition to these long compositions bearing the "Chhand" designation. While "Upadeshmala Balavbodh" provided him with a collection of stories, editing "Gunaratnakar Chhand" resulted in a "Chhand" work imbued with poetic beauty. The twenty-plus syllable-based and syllable-count meters used within it showcase the rhythm of the Charani meters. The depiction of the emotional interplay between Sthulbhadra and Kosa, using the story as a pretext, is a particularly enjoyable aspect of the work. The dynamic descriptions and their rich ornamentation, touched by poetic sensibility, are all delightful.

He quotes a line reminiscent of Kant's beautiful phrasing: "Nari-sarovar sabal sakal mukhakamal manohar." He then presents a verse from "Gunaratnakar Chhand": "Suvanna deha, rupareha, kamageha gajjiao..." highlighting the poet's skill in decorating the external beauty of Kosa through conjunct-word vocabulary, internal rhyme, and sonic music.

The Art of Depiction: Kosa's Deception and the Analogy of Night

Shah analyzes the poet's portrayal of the prostitute Kosa's deceitful nature, where she doesn't remain loyal to one man. The poet uses the metaphor of night, spoken through Sthulbhadra, to convey this. This entire imaginative picture is novel. He quotes a verse that beautifully captures this:

"Suraj jav atthamai, kesh tav munki rohi, Jav vela jehani tam temasyau man mohai, Phulla tar siri ghalli ramai te chandā sāthai, Sur samai jāṇevi, phulla paṇi nākhai hāthai, Im raṇi kūḍ bihsyau karai, veshī kahīṁ sāchī na’u haī."

This verse, Shah explains, describes how night, like a prostitute, deceives both the sun (by letting go of its rays when it sets) and the moon (by adorning itself with stars when the moon appears, and discarding them when the sun returns). Similarly, a prostitute is never truly faithful.

The Nature of "Chhand" in Gujarati Literature: From Praise to Short Verses

Shah notes that shorter lyrical works designated as "Chhand" have also been composed in Gujarati. These primarily contain prayers, hymns of glory, and descriptions of the virtues and beauty of deities, often composed in a single continuous meter. He concludes that there is ample scope for a rigorous study of the form, development, subject matter, and metrical structure of these long and short "Chhand" works.

"Vinod Chautrisi": A Humorous Narrative and a Unique Contribution

Shah then discusses his discovery of a manuscript titled "Vinod Chautrisi" by Harji Muni, a metrical narrative composed in Sambat 1641 (1584 CE). This work was found at the Lalbhai Dalpatbhai Bharatiya Sanskriti Vidyapeeth as part of a project for the Bhogiilal Sandesara Swadhyaya Peeth. He mentions that the name of this monk poet is rarely heard, with only a brief mention in "Jain Gurjar Kavis" and "Sahityakosh."

The work itself is a series of 34 worldly tales woven into a narrative thread, similar to "Sinhasan Battisi" or "Suda Bahoteri." As the title suggests, these are humorous and life-affirming stories. The narrative involves a monk who converts an atheistic merchant's son to faith by telling one story each day for 34 days. While the stories themselves might not be entirely original, the poetic form given by the poet demonstrates his creativity. This work is a unique addition to our tradition of humorous story collections in metrical narratives. He also mentions the recent availability of an unpublished "Ovi" (a type of verse) narrative by poet Shāmal, titled "Pandermi Vidya," which focuses on the character of women.

The Indispensability of Medieval Gujarati Lexicons

Discussing medieval Gujarati literature inevitably leads to the importance of its associated lexicons. Shah argues that without understanding the meaning and context of medieval words, an appreciation of the literature remains incomplete. Medieval words have become unfamiliar in terms of pronunciation and synonyms. He provides an example from "Vinod Chautrisi":

"Tere birah mun dehṁ dahī, jiuṁ vani būṁghchīyāī, Ādhe jal bahi koilā, ādhe lohī-māṁs."

He explains that without knowing the meaning of "būṁghchīyā" (which means "chanaṭhi" or a type of wild pea), the beauty of the metaphor remains hidden. When the dictionary reveals the meaning, the distressed heroine's image becomes clear: "In your separation, my half-body has burned to ashes like a wild pea in the forest, and the other half remains as blood and flesh."

The Need for a Comprehensive Medieval Gujarati Lexicon

Shah strongly advocates for the necessity of a large-scale medieval Gujarati lexicon. He acknowledges Jayant Kothari's "Madhyakalin Gujarati Shabdakosh," but points out its limitations, which Kothari himself recognized. This lexicon is a compilation. Bhayani's suggestion to Kothari was to directly extract words from medieval works. However, considering Kothari's health, the lexicon was compiled based on dictionaries with meanings and references that were already included in the edited editions of medieval works. Despite this, Kothari's extensive research and correction of erroneous meanings and misidentified words are highly commendable.

The Continuing Work: Filling the Gaps

Even with a foundational lexicon, Shah outlines the remaining tasks:

Words not included by original editors in their dictionaries (e.g., from the editing of "Ghadavashyak Balavbodh" or "Vimal Prabandh").
Words from dictionaries that lack meanings or references.
Words from works edited and published after the compilation of existing lexicons.
Words from works for which no lexicons have been compiled.

He believes this task requires a team of institutions or experts. Just as a story collection and a literature lexicon have been compiled, this challenge can also be met. He praises Bhayani's "Bhagirath" (monumental) effort in collecting words from thousands of works spanning 700 years and expresses hope that this endeavor will continue to grow.

The Role of "Anusandhan" Journal and the Need for Reprints

Shah discusses the journal "Anusandhan," founded by Dr. Harivallabh Bhayani and currently edited by Acharya Shilachandra Suriji. With 41 issues published, it has been instrumental in publishing revised editions of unpublished Sanskrit, Prakrit, and medieval Gujarati works, often accompanied by dictionaries. He considers it an important medium for publishing manuscript-based works but feels it hasn't received sufficient recognition in the literary world.

He also mentions the publication of approximately eight "pearls" from the "Anand Kavya Mahodadhi" collection, which included long works like "Rasa" and "Padya Varta." He suggests the possibility of revising and re-editing these and similar collections with corrected texts.

Addressing Duplication and Updating Literary Information

When compiling the "Sahityakosh" Volume 1, Shah notes that around fourteen collections of "Sajjhaymalas" were published by different editors. This led to duplication of works by the same poets appearing in multiple editions. He suggests compiling a collected volume to avoid such repetition. This would also help in preserving these works, which are often in a dilapidated state, and in giving them a new look beyond the old, outdated printing methods. He points out that Volume 1 of "Sahityakosh" indicates whether a creator's work is printed or unprinted. He recommends that after the lexicon's publication, the Parishad (literary council) should continuously update the lexicon's material by recording any newly published unprinted works or discovered works mentioned in the lexicon. Authors could also be encouraged to share this publication information with the Parishad, or the Parishad could organize events for this purpose. This would streamline and ensure accuracy in future editions.

Conclusion: A Call to Action and the Enduring Legacy

In conclusion, Shah states that he has not discussed the works of renowned medieval poets like Narsinh-Meera or Akho-Premanand. Instead, his speech aims to encourage steps towards exploring uncharted literary horizons. He expresses confidence that the achievements of newly revealed, soon-to-be-revealed, and future works will be significant. He urges the audience to stay connected to the thread of medieval Gujarati literature, a legacy that Jayant Kothari deemed unforgettable. He emphasizes that the nurturing and developmental value derived from this literature for our cultural life should not be underestimated.