Madhyakalin Rajasthani Kavya Ke Vikas Me Kaviyuitriyo Ka Yogadan

Here is a comprehensive summary in English of the provided Jain text, "Madhyakalin Rajasthani Kavya ke Vikas me Kaviyuitriyo ka Yogadan" by Shanta Bhanavat:

This text, "Contribution of Poetesses in the Development of Medieval Rajasthani Poetry," by Dr. Shanta Bhanavat, highlights the significant role of women poets in enriching Rajasthani literature during the medieval period (roughly 14th to 19th centuries). The author categorizes these contributions into five main streams of poetry for better understanding.

The introductory section emphasizes that Rajasthani literature is characterized by valor, strength, and devotion. It has educated both men and women in sacrifice, courage, bravery, and the protection of dharma. The women of Rajasthan are portrayed as not only inspiring men in their duties but also taking up the sword themselves when necessary, rousing their husbands with sharp words when they returned defeated from battle. In the realm of devotion, Rajasthani literature has voiced the sweet relationship between devotees and God, while in the context of literary style (Reeti), it has established new standards and demonstrated a distinct personality.

Dr. Bhanavat asserts that women in Rajasthan were not behind in literary creation, and their writings are replete with heroic, devotional, and romantic sentiments. The book then proceeds to classify the contributions of poetesses into the following categories:

1. Poetesses of the Dingal Poetry Stream:

• Language and Style: The primary language is Dingal, the bardic style of Rajasthani.
• Background: These poetesses were often associated with royal families or Charan (bardic) families.
• Themes: Their poetry predominantly expresses heroic (Veer) and romantic (Shringar) rasas.
• Impact: They inspired kings towards literature and captured the emotions of lovers during union and separation. Similar to Charan poets who encouraged kings on the battlefield, these poetesses reminded the rulers of their forgotten strength from the comfort of their homes.
• Notable Poetesses:
  • Jhima Charani (around 1480 CE): Known for her powerful poetry, she influenced King Achaldas Khichi of Gagron to remain loyal to his wife.
  • Padma Charani (around 1597 CE): Skilled in writing Dingal songs and verses, her compositions are filled with heroic sentiment. She is noted for inspiring the dormant Amar Singh to battle.
  • Champade Rani (around 1650 CE): Daughter of the ruler of Jaisalmer and wife of poet Prithviraj Rathore, she was inspired by the literary atmosphere of her paternal home. Several anecdotes highlight her witty poetic exchanges with her husband.
  • Rani Radhari Ji (around 1650 CE): Daughter of a Rana and wife of a Rao, both she and her husband were patrons of poetry. She possessed good knowledge of meter and rhetoric.
  • Biraj Bai (around 1800 CE): Wife of poet Karani Dan, she often wrote poems that were presented by Charan poets as their own to gain rewards. Her works are significant in terms of emotion and language.
  • Harji Rani Chavadi (before 1875 CE): Second queen of the powerful King Man Singh of Jodhpur, she composed exquisite, emotional, romantic songs, khayals, and tappas, demonstrating a strong command of folk music and melody.
  • Other notable poetesses include Kakrechi Ji and Rao Jodhaji's Sankhli Rani.

2. Poetesses of the Ram Kavya Stream:

• Inspiration: Similar to Tulsidas's devotion to Rama, these poetesses dedicated their poetic offerings to Rama's character, with Sita often serving as a focal point.
• Themes: They contributed to furthering devotion to Rama by creating works centered on his life and character. They also showed generosity in expressing devotion to Radha and Krishna.
• Notable Poetesses:
  • Pratap Kunwari (1873-1943 CE): Known for her sharp intellect and mastery of Rajasthani language, meter, and rhetoric, her works like "Gyansagar" and "Ramgunasagar" are deeply devotional.
  • Tulchharai (around 1850 CE): A devoted follower of Rama, her scattered verses reveal her deep faith. Her works, rich in emotion, language, and style, are notable in the Ram Kavya stream.
  • Bagheli Vishnprasad Kanwari (around 1821 CE): A disciple of the Ram Snehi sect, her works like "Avdhvilas" and "Krishnavilas" are written in Rajasthani with the sweetness of Brajbhasha.
  • Ratankunwari (around 1900 CE): Niece of Pratap Kunwari and queen of Idar's Maharaja Pratapsingh, her verses are calm and romantic, expressing her deep devotion to Rama.
  • Rupdevi (1908-1924 CE): Queen of Alwar's King Vinay Singh, her works like "Rupmanjari" and "Ram Ras" feature skillful use of dohas and chaupais and unique nature descriptions.
  • Jadachi Prataptala (1891-1974 CE): A follower of the Ram Snehi sect with equal reverence for Krishna, her verses are addressed to Lord Chaturbhuj Shyam and possess the sweetness of pure Rajasthani.
  • Chandrakala Bai (1923-1965 CE): A maid in Bundi's royal household, she was a learned poetess knowledgeable in meter and rhetoric, authoring works like "Karunashatak."
  • Other notable poetesses are mentioned briefly.

3. Poetesses of the Krishna Kavya Stream:

• Context: The Krishna Kavya stream gained prominence in Hindi and Brajbhasha following the establishment of the Ashtachhap by Vallabhacharya.
• Themes: These poetesses followed in the footsteps of poets like Surdas, expressing parental, friendly, and servile devotion to Krishna. They depicted Krishna's childhood exploits, attracting the minds of the people towards him.
• Notable Poetesses:
  • Meera: Born in 1480 CE, she was the daughter of Rathore Ratansingh of Merta and granddaughter of Rao Dudaji. After her husband's death, she dedicated her life to Krishna, her divine husband. Her devotion is described as natural, without artificiality or show.
  • Sodhi Nathi (around 1725 CE): Granddaughter of Rana Chandrasen of Amerkot, her works "Balcharit" and "Kansleela" describe Krishna's childhood and other episodes, showcasing her heartfelt devotion.
  • Brajvasi Rani Bankavati (1776-1820 CE): Queen of Kishangarh's Maharaja Rajsingh, she translated the "Shrimad Bhagwat" into rhythmic Rajasthani, known as "Brajdasi Bhagwat." She was deeply engrossed in meditating on Krishna.
  • Giriraj Kumari (1922-1980 CE): Rajmata of Bharatpur, her work "Brajraj Vilas" is filled with Krishna devotion, expressing a sense of humility and longing for union with Krishna, similar to Surdas.
  • Brajbhankishori (around 1885 CE): A queen of Jodhpur's Maharaja Takhatsingh, she described Krishna's various pastimes in melodious verses.
  • Saubhagya Kumari (1946-2005 CE): Daughter of Jodhpur's Maharaja Takhatsingh, her published work "Saubhagya-Bihari-Bhajanmala" contains verses on guru devotion, Krishna's pastimes, and separation/union, reflecting her deep devotion.
  • Bagheli Ranchhod Kumari (1923-1963 CE): A queen of Jodhpur's Maharaja Takhatsingh, she had a profound devotion to Krishna and established a temple for a deity her father brought from battles. Her verses emphasize the path to salvation through devotion.
  • Samman Bai (around 1925 CE): Daughter of Alwar's Ramanath Kaviya, she had unwavering devotion to Krishna and viewed her husband as divine. Her "Patishtak" is a famous work, alongside dohas, savaiyas, and pads on Krishna's childhood.
  • Rasikbihari Banithani (1767-1822 CE): A maid of Maharaja Nagridas of Kishangarh, her proximity to him awakened her Krishna bhakti. She is believed to have identified with Radha, expressing her emotions in verses that are impactful due to their modesty and reverence.
  • Sundarkunwari Bai (1817-1853 CE): Sister of poet Nagridas, she was immersed in Krishna bhakti. Her eleven works, including "Nehnidhi" and "Vrindavan Gopi Mahatmya," beautifully describe the pastimes of Radha and Krishna in various meters.
  • Chhatrakumari Bai (1703-1790 CE): Granddaughter of Nagridas, her work "Premvinod" depicts the love pastimes of Radha and Krishna, characterized by romantic sentiment infused with devotion.
  • Other notable poetesses include Bairan, Maharani Son Kanwari, Dasi Sundar, and Pranandi Devi Goswami.

4. Poetesses of the Nirgun Kavya Stream:

• Core Tenets: This stream, influenced by figures like Gorakhnath and Kabir, opposes idol worship and rituals. It emphasizes the worship of an formless, non-dualistic God and condemns casteism, opening the doors of worship to all.
• Notable Poetesses:
  • Sahjo Bai (18th century CE): Born in Alwar, she was a disciple of Charan Das Ji. Her work "Sahaj Prakash" eloquently describes guru devotion and the impermanence of the world, stressing the importance of remembering God's name.
  • Dayabai (around 1805 CE): Sister of Sahjo Bai, she was a learned woman and disciple of Charan Das Ji. Her works "Dayabodh" and "Vinaymalika" beautifully describe the impermanence of the world and the steadfastness of devoted saints.
  • Gawari Bai (1835-1895 CE): Born into a devotional family in Dungarpur, she was deprived of marital bliss early and dedicated her life to devotion. Her collection of verses reveals her profound devotion, scholarship, and unique connection with the divine. She holds a significant place among Nirgun poetesses, akin to Sundardas in the male sphere.
  • Uma (late 18th century CE): Her Rama is the formless Brahman, not the son of Dasharatha. She sings of playing Holi with this formless entity.
  • Rupan De (mid-15th century CE): Wife of King Mallinath, her guru was Ugamsi Bhatti. She defied caste norms by visiting Ramdev Ji's temple and taking Prasad, valuing spiritual pursuits over worldly affairs.
  • Jan Begum (1835 CE): A disciple of Sant Chhauna of the Charan Das sect in Alwar, her work "Sudama Charit" expresses deep devotion to her guru and God.
  • Swarupa Bai (late 18th century CE): A disciple of Ramcharan Ji Maharaj, founder of the Ram Snehi sect, her poetry focuses on the impermanence of the world and guru devotion.
  • Other notable poetesses include Bai Khushal, Tola De, Kajal De, and Goranji.

5. Poetesses of the Jain Kavya Stream:

• Significance: The text acknowledges the significant, though often obscured, contributions of Jain nuns (Sadhvis) to literature alongside monks (Sadhus) and lay followers (Shravakas and Shravikas). While historical records of monastic lineages are clearer, the lineage of female ascetics is less documented. However, the text mentions prominent figures like Sadhvi Chandanbala and Jayanti from Lord Mahavir's era.
• Notable Poetesses:
  • Gunasamruddhi Mahattara (1477 CE): A disciple of Jinachandra Suri, her work "Anjanasundariyacharyam" in Prakrit, housed in the Jaisalmer collection, describes the life of Anjana Sundari, Hanuman's mother.
  • Vinayachula (around 1513 CE): A follower of Hemaratna Suri, she composed a work titled "Guru Phagu."
  • Padmashri: Associated with the Agamagachh, her work "Charudattacharit" is mentioned.
  • Hemsri (1644 CE): A disciple of Nayasundar Ji, her 367-verse composition "Kankavati Akhyan" is noted.
  • Hemsiddhi (17th century CE): Associated with the Kharataragachh, her two songs, "Lavanyasiddhi Pahutni Geet" and "Somsiddhinirvanageetam," are mentioned, expressing affection and devotion.
  • Hark Bai (1820 CE): Associated with the Sthanakvasi tradition, her works include the character sketch of Mahasati Amruji and "Mahasati Chatrooji Sajhjah."
  • Hulasaji (1887 CE): Associated with the Sthanakvasi tradition, she has several stanzas (stavans) on topics like forgiveness and penance.
  • Jadavaji: A prominent disciple of Shrimati Rama Ji, she resided in Jaipur due to failing eyesight and authored "Jainstavanavali," a collection of devotional, narrative, and didactic works, showing particular skill in allegorical writing.
  • Bhursundari (1980-1986 CE): Associated with the Sthanakvasi tradition, she became a nun at a young age and authored six published works, primarily devotional and didactic, including riddles.

Conclusion: The author concludes by stating that Rajasthani poetesses have made a significant and enriching contribution to the diverse poetic streams of Hindi literature, encompassing heroism, romance, devotion, and spirituality. The research for this essay was aided by the "Rajasthani Poetesses Special Issue" of "Prerna" (February 1963).