Mahakavi Asang Aur Unki Krutiya

Here is a comprehensive summary of the Jain text "Mahakavi Asang aur Unki Krutiya" (Great Poet Asang and His Works) by Sarla Tripathi, focusing on the provided pages:

This article, written by Pratibha Jain, discusses the life and works of the eminent Jain poet Mahakavi Asang, who was primarily a renowned poet in the Kannada language but also a significant contributor to Sanskrit literature.

Key Information about Mahakavi Asang:

• Identity and Heritage: Asang was originally from the Kannada region and a famous Kannada poet.
• Known Works:
  • Vardhamanacharita (वर्धमानचरितम्): A major Sanskrit epic (Mahakavya) detailing the life of Tirthankara Mahavira, including his thirty-seven previous births. It is composed of 18 cantos (sargas).
  • Shanti-Natha Purana (श्री शान्तिनाथ पुराण): A Purana (historical or mythological narrative) focusing on the life of Tirthankara Shanti-Natha.
• Lost Works: Asang himself mentioned eight of his works in the conclusion of Vardhamanacharita, but a complete list is unavailable, and only the two mentioned above are currently known. Jayakeerti (circa 1000 CE) mentioned Karnatakakumara Sambhava by Asang, but this is also lost. The other lost works might have been in Kannada and could be in South Indian libraries or may have been lost or destroyed.
• Commentaries: No Sanskrit commentaries on Asang's works have been published. However, a palm-leaf manuscript discovered by B.B. Lokapur mentions a Kannada commentary on Vardhamanapurana, which includes word meanings, analysis, and grammar, aiding in understanding the original text. Another copy of Vardhamanapurana with a Kannada commentary is available within the Helegiya Upadhyaya family.
• Biographical Details:
  • Asang's father was Patumati, and his mother was Vaireti. His parents were devout followers (Manibhakt) of Jain monks.
  • He received his early education in the company of monks and studied under Acharya Sri Naganandi and Muni Bhavakeerti.
  • In the epigraphs of Vardhamanacharita and Shanti-Natha Purana, he mentions Samvatsara Shravika (who showed affection) and his friend Jinap Brahmachari, respectively. This suggests that he was a householder during the composition of both works, not a monk. It is not known if he became a monk later.
• Dating: While Shanti-Natha Purana doesn't mention its date of composition, Vardhamanacharita includes a verse indicating the year "Dashanvottara-Yukte Samvatsare" (संवत्सरे दशंनोत्तरवर्षयुक्ते). Interpreting "Dashanav" as 910 and "Uttara" as "best," this likely refers to the Shak era 910 (853 CE). Dr. Jyoti Prasad Jain supports this date, noting that Kannada poets like Pampa and Ponna (around 950 CE) praised him, suggesting Asang was their predecessor.
• Patronage and Context: His patrons were from the Tamil region. It's possible he composed Vardhamanacharita in Viralanagari under the patronage of Srinath, a Chola feudatory of the Pallava king Nandivotaras, during Aryandi's renunciation. Shanti-Natha Purana was composed at the strong request of Jinap Brahmachari.
• Influence: Many Kannada authors were familiar with Asang and mentioned him in their works. Dhavala, the author of Harivamsa Purana, mentioned Asang in his Virajinecharya. Durga Simha (1031 CE) also mentioned Asang along with other poets in his Kannada Panchatantra.
• Origin of the Name "Asang": The origin of the name "Asang" is unclear. It might be an older form of "Agas," meaning washerman, but there's no evidence he was a washerman by profession. Dr. Upadhye suggests it's a variant of "Asanga."

Jain Poetic Tradition and Characteristics:

• Jain poets initially developed their poetic talent in Prakrit and Apabhramsha. Later, they adopted Sanskrit for biographical narratives (Charit Kavya), composing many such works and biographical accounts of great individuals. Asang belongs to the first generation of such Sanskrit poets.
• His poetry is described as not just poetry but a "Mahapuranopanishad" (a great Upanishad of the Puranas).
• Jain biographical texts emphasize a protagonist's previous lives more than their current life. This is to illustrate how a soul undergoes ascents and descents over many births to finally achieve its highest state. The focus is on "how" a Tirthankara became one, rather than just what they did, to inspire self-realization in the reader.
• Asang's purpose was to enlighten his readers and inspire them towards self-welfare, a goal he achieved remarkably.

Detailed Description of Vardhamanacharita:

• It is an important Sanskrit poem in 18 cantos.
• It narrates the life of Tirthankara Mahavira, including 37 previous births.
• According to Dr. Ramji Upadhyay, Asang composed this work in the tradition of Ashvaghosha and Kalidasa.
• The narrative basis of Vardhamanacharita can be found in the Prakrit text Tiloyapannatti. Jain accounts of Tirthankaras and Shalakapurushas are generally based on Tiloyapannatti.
• The description of the narrative structure appears to be based on Gunabhadra's Uttarapurana, which details Lord Mahavira's story in its 74th chapter.
• His philosophical teachings are likely based on Umaswami's Tattvartha Sutra, Pujyapada's Sarvarthasiddhi, and Akalanka Swami's Rajavartika.
• The detailed description of the Samavasarana (assembly hall) is based on Jinaseana's Mahapurana.
• Asang has molded mythological narratives into a poetic form, giving it the structure of a Mahakavya.
• The definition of Mahakavya in the Adipurana describes it as the tasteful portrayal of historical and mythological characters, displaying the fruits of Dharma, Artha, and Kama, with Dharma as the primary purpose. Vardhamanacharita encompasses all these characteristics.
• The hero is Vardhamana (Mahavira), possessing the qualities of a Dhir-odatta (noble and courageous) hero born in a Kshatriya clan.
• The primary rasa (mood/emotion) is Shanta (peaceful), with secondary use of Shringara (romance), Bhayanaka (fearful), and Vira (heroic) rasas.
• It begins with salutations and has liberation (Moksha) as its ultimate fruit.
• Most cantos are in a single meter, but the 9th, 10th, 15th, and 18th cantos use various meters. Common meters used include Upajati, Vasanta Tilaka, Viyogini, Shikhari, Vamshastha, Shardula Vikridita, Anushtup, Malini, and Mandakranta.
• It includes descriptions of places, kings, royal births, seasons, forests, oceans, ascetics, gods, goddesses, battles, marriages, evenings, moonrise, sunrise, penance, and religious discourses.

Description of Shanti-Natha Purana:

• This is Asang's second work, composed after Vardhamanacharita.
• The language in Shanti-Natha Purana is less sophisticated than in Vardhamanacharita. This is because Vardhamanacharita is written in a poetic style, while Shanti-Natha Purana follows the Purana style, predominantly using the Anushtup meter.
• Its language is simple, but the sentiment is profound.
• The Adipurana defines ancient narratives as Puranas. The core element of a Purana is its mythological belief, derived from ancient tradition, and it typically includes a story. Puranic tales are considered true and aim to explain the origin and utility of various things, beliefs, and customs.
• Puranas are divided into two types: Purana and Mahapurana. A Purana describes one Shalakapurusha (eminent individual), while a Mahapurana describes sixty-two such individuals.
• Puranas are also called Dharma Shastras due to their exposition of Dharma.
• Jain Purana literature is known for its authenticity, primarily attributed to the authenticity of its authors. The narrative parts of Jain Puranas are based on factual events and are free from impossible fantasies.
• Most Purana texts are based on Gunabhadra's Uttarapurana.
• Shanti-Natha Purana describes factual events with interspersed, poignant references and subtle analysis of Jain principles.
• It narrates the life of the 16th Tirthankara of this Avapini era, Lord Shanti-Natha. Lord Shanti-Natha held the titles of Chakravarti (universal emperor) and Kamadeva (god of love). The Tirthankara state is extremely rare, attainable only by souls who have practiced for many lives.
• The Purana elaborately describes Shanti-Natha's previous births, illustrating how his soul achieved the Tirthankara status through practice.
• The work has 16 cantos, with the first 12 describing his previous lives and the last four detailing his Tirthankara period.
• Each Tirthankara has five auspicious events (Kalyanakas): conception, birth, initiation, omniscience, and nirvana. The work primarily describes these five events.
• It contains 2350 verses across 16 cantos, using meters like Shardula Vikridita, Vamshastha, Utpalamala, Harini, Praharshini, Indravamsha, Viyogini, Vasanta Tilaka, and Malini, with the rest in Anushtup.
• The final cantos extensively discuss Jain philosophy, based on Tattvartha Sutra and Sarvarthasiddhi. Cantos 15 and 16 offer detailed explanations of Jain principles.
• Asang adopted the style of Prathamanuyoga in Shanti-Natha Purana, incorporating elements of Siddhanta (philosophy), Itihasa (history), and Lokanuyoga (sociological narrative), making it both a narrative and a philosophical text.

Literary Characteristics:

• Subhashitas (Wise Sayings): Mahakavi Asang skillfully used beautiful prose along with subhashitas in his works. The Adipurana refers to subhashitas as "maharatna" (great gems). Subhashitas are also called "mahamantra" (great mantras). Like precious gems originating from the ocean, Asang's works are a source of subhashitas. He adorned his works with subhashita-rich passages, avoiding overly erotic content. Through "Arthantaranys" (argument by analogy) and "Aprastuta Prasamsa" (praise by indirection), he compiled memorable subhashitas that are integral to the original texts.
  • An example from Vardhamanacharita: "A son's duty is to obey his father's command, whether it is right or wrong, and nothing else."
  • A subhashita from the seventh canto of Shanti-Natha Purana describes the mindset of women.
• Alankaras (Figures of Speech): Asang used alankaras to evoke desired emotions and intensify the experience of objects, qualities, and actions. His works are replete with both sound and sense figures of speech.
  • He extensively used meters like Anupras (alliteration), Yamak (rhyme), Shleshopama (a combination of Shlesha and Upama), Rupak (metaphor), Utpreksha (poetic fancy), Parishankhya (enumeration), Bhrantiman (delusion), and Virodhabhas (paradox).
  • The use of alankaras like Shleshopama sometimes made the composition complex.
• Rasa (Mood/Emotion): Rasa is the soul of poetry, and Asang's works exhibit a beautiful inclusion of various rasas.
  • Vardhamanacharita: The primary rasa is Shanta. It includes descriptions of conjugal love, but brief, with only one verse describing separation and grief. There are many instances of Shanta rasa, such as King Nandivardhana contemplating renunciation after seeing a cloud dissolving in the sky, Prajapati's contemplation of renunciation, and Tirthankara Mahavira's renunciation. Shringara rasa is present in the marriage of Svayamprabha and Tripristha. Vira rasa is evoked by the prideful words of the angered Ashagriva and Vidyadhara kings. Vira rasa is also depicted during battles between armies. Bhayanaka rasa is present when Vishakhanandi, trembling with fear upon seeing Kapiithavriksha ascending, attempts to save his life.
  • Shanti-Natha Purana: Primarily features Shanta rasa, with other rasas used as secondary elements. Vira rasa is described in the battles between Chakravarti Dayitari and Aparajita, and Anantavirya. Shringara rasa is depicted in the contexts of Dayitari and dancers, and Sahasrayudha's water sports. Renunciation is described extensively. King Smitisagara, after hearing the discourse on human effort from Bhagavan Svayamprabha, renounced the world, handing over the kingdom to his eldest son. In the sixth canto, Sumati, after hearing about her past life from a goddess, became detached from the world and became an Ajika. The renunciation of Chakravarti Shanti Jinendra also exemplifies Shanta rasa.

Influence and Legacy:

• Mahakavi Asang had a profound understanding of the vast ocean of preceding literature, and the influence of earlier poets is evident in his works.
• He was influenced by the philosophical works of Kundakunda, Pujyapada, and Akalanka.
• He adopted several sentiments from Raghuvamsha, Kumara Sambhava, Shishupala Vadha, Chandraprabha Charita, and Kiratarjuniya.
• There is a similarity between verses in Vardhamanacharita and Jivandhara Champu and Dharmasharama-bhudaya, making it a subject for further research to determine the direction of influence.
• Mahakavi Asang also left his mark on later poets. Kesiraja (1200 CE) included many excerpts from Asang's poems in his Shabdamanidarpan. Ponna's work was influenced by Asang's Shanti Purana. Poets like Nagavarma and Kanna were influenced by Vardhamana Purana.
• Asang possessed complete mastery over Sanskrit, showing no laxity in his language. He used language suitable for the context, employing both short and long compound words.
• The beauty of word choice and ornamentation is evident throughout his works.
• Besides describing external beauty, his works also portray the inner emotions and actions of humans in various situations, including love, hatred, joy, sorrow, affection, and compassion, with great subtlety.
• The poet delves into the inner workings of his characters, analyzing their mental reactions in specific circumstances and expressing them with appropriate word placement.
• Asang's writings are considered excellent from historical, mythological, and scriptural perspectives. Although only two of his works are available, they are sufficient to grant him immortality and ensure the flag of poetic taste always flies high. Intensive research on these works is ongoing.