Mahakavi Dhanpal Vyaktitva Aur Krutitva - Book Summary

Here is a comprehensive summary of the Jain text "Mahakavi Dhanpal: Vyaktitva aur Krutitva" by Manmal Kudal, based on the provided pages:

This text is a detailed exploration of the life and literary contributions of Mahakavi Dhanpal, a prominent poet in Apabhramsha literature. The author, Manmal Kudal, highlights Dhanpal's significance, even though detailed biographical information is scarce.

Dhanpal's Identity and Background:

Dhanpal was born into the Dhakkad Vaisya (merchant) lineage.
His father's name was Māesar (or Mātesar), and his mother's name was Dhanashri.
The text suggests he was blessed by Saraswati, indicating his immense talent.
It is presumed that Dhanpal was a gifted scholar who likely wrote other works, though they are now lost or undiscovered.

The Challenge of Identification:

The name "Dhanpal" was not unique, leading to confusion with other scholars.
Pandit Parmanand Shastri identified four different scholars named Dhanpal from various periods.
- Two were Sanskrit scholars and authors (one patronized by King Bhoja in the 10th century, author of Tilakmanjari and Paiyalachhi; another from the 13th century, author of Tilakmanjari).
- Two were Apabhramsha scholars. The third Dhanpal, from the 15th century, was the author of Bahubali Charitra, belonging to the Purvad lineage of Gujarat. The fourth Dhanpal is the author of Bhavisyattakaha.

The Dhakkad Lineage:

Dhanpal belonged to the Dhakkad lineage, which appears to have been prominent from the 10th to the 13th centuries.
This lineage also produced Kavi Harishen, the author of Dharmapariksha (composed in VS 1044).
The lineage is also mentioned in Mahakavi Veer's Jambuswami Charitra, referencing Takkhadu Shreshthi, son of Mahasudan, from the Dhakkad lineage in Malwa.
An inscription from Delwada (VS 1287) also mentions the "Dharkat" (likely a variant of Dhakkad) caste.

Dating Dhanpal's Work:

The dating of Dhanpal and his work, Bhavisyattakaha, is discussed with varying scholarly opinions:

Linguistic Analysis (Dr. Herman Jacobi): Jacobi places Dhanpal in the 10th century due to the similarity of his language to Haribhadra Suri's Nemianahcharia (dated between 705-775 CE).
Linguistic Comparison (Dalal and Gune): These scholars argue that the language of Bhavisyattakaha is older than that used in Acharya Hemachandra's grammar. They suggest a gap of about 250 years between Dhanpal and Hemachandra, implying Dhanpal predates Hemachandra's era when Apabhramsha was a dying language.
Manuscript Evidence (Dr. Devendra Kumar Shastri): The oldest available manuscript of Bhavisyattakaha is dated VS 1480. However, the colophon (prashasti) of the work itself states it was written in VS 1393.
Historical Context: Dhanpal mentions Muhammad Shah (1325-1351 CE) ruling Delhi. The event of Acharya Jinchandrasuri enlightening Muhammad Shah in 1328 CE is considered significant, possibly leading to the Muslim ruler being called a "kafir." Based on this, historical evidence strongly suggests Dhanpal wrote Bhavisyattakaha in the 14th century.

Dhanpal's Religious Affiliation:

Dhanpal was a follower of the Digambara sect of Jainism.
This is evident from explicit references in Bhavisyattakaha (e.g., "Jena bhanvi diyambari lay") and his adherence to Digambara doctrines.
His description of the Ashta Mulagunas (eight essential virtues), emphasizing the renunciation of honey, liquor, meat, and the five Umbara fruits, aligns with the views of Devsen, the author of Bhavasangraha.
Dhanpal also drew inspiration from the Apabhramsha poet Vibudh Shridhar, who also described these renunciations as Ashta Mulagunas.

Dhanpal's Literary Works:

Dhanpal's sole surviving Apabhramsha work is Bhavisyattakaha.
It is a narrative poem divided into 22 sandhis (cantos) and three sections.
- The first section describes Bhavisyadatta's prosperity.
- The second details Bhavisyadatta's crucial role and victory in the war between the King of Kuru and the King of Takshashila.
- The third recounts the past and future lives of Bhavisyadatta and his companions.

Narrative and Themes of Bhavisyattakaha:

The story centers on Bhavisyadatta, a merchant's son.
He travels abroad for trade with his stepbrother, Bandhudatta, earns wealth, and marries.
However, his stepbrother repeatedly betrays and harms him, eventually abandoning him on an island and marrying his wife.
Bhavisyadatta returns with the help of a Yaksha, reclaims his position, wins the king's favor, and marries the princess.
Finally, after hearing a sermon from a muni (ascetic) and learning about his past lives, he renounces the world, entrusts his kingdom to his son, and becomes an ascetic himself.
The narrative is intended to highlight the importance of the Shrutpanchami Vrata.
The work contains many beautiful and engaging episodes, including descriptions of childhood games, sea voyages, shipwrecks, desolate cities, and aerial journeys (vimana yatra). Dhanpal's descriptions of vimanas are remarkably vivid, even if they existed at his time.

Literary Style and Elements:

Descriptions (Vastu-varnan): Dhanpal employs various descriptive styles, from cataloging traditions to realistic portrayals of folk life. He vividly describes cities, island journeys, oceans, weddings, battles, festivals, seasons, children, royal courts, omens, forests, beauty, and nature, imbued with rasa (aesthetic sentiment).
Emotional Expression (Bhava-vyanjana): The work excels in conveying poignant emotions, especially in moments of separation and distress. Notable instances include Bandhudatta abandoning Bhavisyadatta, the mother Kamalasri's grief, Bandhudatta's return, and Bhavisyadatta's reunion with his mother. Kamalasri's lament for her son is particularly moving.
Rasa: The poem masterfully evokes sentiments of Shringar (romance), Veer (heroism), and Shant (peace).
Dialogue (Samvad-yojana): The narrative is enriched by numerous dialogues that add dynamism and charm. Key conversations include those between Bhavisyadatta and his mother, Bhavisyadatta and his wife, Bhavisyadatta and a demon, Bhavisyadatta and Bandhudatta, Kamalasri and the muni, Bandhudatta and Sapaka, and Bhavisyadatta with a Manovega Vidyadhara and a muni.
Meter and Structure (Shaili): Dhanpal uses the Kadabakbandh style prevalent in Apabhramsha narrative poetry. Kadabaks typically range from 10 to 16 lines and are often integrated with meters like Pajjharika, Pajarika, Adilla, or Vastu. The Dhruva, Dhruvak, or Dhatta meter is used at the beginning of sections and the end of Kadabaks.
Language (Bhasha): Dhanpal's language is literary Apabhramsha, yet it is infused with the richness of spoken vernacular. This blend allows for both sophisticated descriptions and relatable depictions of domestic life. The text mentions detailed descriptions of various food items like Ghevar, Laddu, Khaja, Kasar, Manda, Bhat, Kachariya, and Papad served during feasts.
Figures of Speech (Alankar-yojana): Dhanpal skillfully employs figures of speech like Upama (simile) and Utpreksha (hyperbole) with specific purposes. His similes compare both tangible and intangible concepts and vividly portray natural scenes with humanistic expressions. Other examples include Rupaka (metaphor), Vyavireka (contrast), and Kavyalinga (cause and effect reasoning).
Metres (Chhanda): The poem extensively uses various Apabhramsha metres, including Pajjharika, Adilla, Duvai, Marahatta, Siahavalokana, Kavya, Plavangama, Kalhansa, Gatha, Dhatta, Ullala, Abhisarika, Vibhramavilasavadan, Kinnaramithunavilas, Markarika, Chamar, Bhujangaprayata, Shankhanari, Lakshmidhara, and Mandara.
Poetic Conventions (Kavya Rudhiyan): Dhanpal adheres to seven traditional poetic conventions: invocatory verses (Mangalacharan), expressions of humility (Vinaya-pradarshan), stating the purpose of composition (Kavya-rachana ka prayojan), describing virtuous and wicked characters (Sajjana-durjana vargana), salutations (Vandana), speaker-listener style (Shrota-vakta shaili), and self-introduction (Atma-parichay).

Society and Culture Depicted:

Dhanpal's work provides insights into the Rajput period's society and culture.
Bhavisyadatta is portrayed as learning not only arts and sciences but also astrology, tantra-mantra, and military skills like weaponry, warfare strategies, wrestling, and horsemanship, all significant arts of the era.
Women of that period were proficient in various arts, particularly music and Veena playing, as exemplified by Sarupa.
The text details customs like women sending messages to their absent husbands via crows during separation, mothers performing rituals for their sons embarking on journeys, and the worship of water deities.
Practices like polygamy, lavish wedding expenses, and the use of musical instruments like Damama, Shankh, Turahi, and Madal during ceremonies (and Nagara during war) are mentioned.
Women's interest in adornment, including waistbands, necklaces, earrings, hairstyles adorned with flowers, rings, armlets, bangles, anklets, girdles, and jeweled strings, is depicted.
Wars were fought for love or territorial expansion, and the era saw the existence of numerous small kingdoms.

Religious Beliefs:

As most Apabhramsha poetry was composed by Jain poets, Bhavisyattakaha naturally includes praise for the 24 Tirthankaras and descriptions of their teachings and paths to salvation.
However, it also incorporates beliefs related to medieval deities, such as the worship of the water god (Varuna), the manifestation of water deities, and the intervention of deities to alleviate distress, all woven into the narrative.

In conclusion, "Mahakavi Dhanpal: Vyaktitva aur Krutitva" meticulously outlines Dhanpal's identity, historical context, literary achievements, and the rich cultural and religious tapestry depicted in his masterpiece, Bhavisyattakaha, solidifying his important position in Apabhramsha literature.