Mahakavi Dhanpal Vyaktitva Evam Krutitva

Here's a comprehensive summary of the Jain text "Mahakavi Dhanpal Vyaktitva evam Krutitva" by Harindrabhushan Jain, based on the provided pages:

The book "Mahakavi Dhanpal Vyaktitva evam Krutitva" (The Personality and Works of Mahakavi Dhanpal) by Harindrabhushan Jain explores the life and literary contributions of Mahakavi Dhanpal, a prominent scholar and poet.

Mahakavi Dhanpal: A Master of Sanskrit and Prakrit

Dhanpal is recognized as a great poet in Sanskrit prose, standing alongside Dandin, Subandhu, and Bana. He was a profound scholar of both Sanskrit and Prakrit languages, earning him the title "Siddhasarasvata Dhanpal." He was adept in both prose and poetry, but his work "Tilakmanjari" has captivated scholars for nearly a thousand years due to its beautiful language, profound meaning, skillful use of rhetoric, varied descriptions, charming sentiments, and emotional depth. Many critics consider "Tilakmanjari" to be on par with Bana's "Kadambari."

Biographical Information and Time Period

Dhanpal provides details about himself and his ancestors in the opening verses of "Tilakmanjari." His life is also documented in various other texts, including "Prabhavak Charita" (by Mahendrasuri), "Prabandha Chintamani" (by Merutungaacharya), and others.

He was a resident of Ujjayini and was originally a Brahmin by birth. His paternal grandfather, Devrishi, was a native of Sankisa in Madhyadesha and later settled in Ujjayini. His father, Sarvadeva, was a learned scholar of all the Vedas and an expert in ritualistic practices. Sarvadeva had two sons, Dhanpal and Shobhan, and a daughter, Sundari.

Dhanpal received a comprehensive education from childhood, mastering various arts and extensively studying the Vedas, Vedangas, Smritis, and Puranas. He was married to a highly cultured woman named Dhanshri.

Although initially a devout Brahmin, Dhanpal was influenced by his younger brother, Shobhan, who accepted Jain initiation from Mahendrasuri. Ultimately, Dhanpal also embraced Jainism.

Dhanpal served as a court scholar to Munja of Malwa (reigned 1031-1078 V.S.) and his nephew, Bhoja. Since Bhoja ascended the throne in 1078 V.S., Dhanpal's time is definitively placed in the 11th century of the Vikram era.

Literary Works

Dhanpal composed numerous works in both Sanskrit and Prakrit. His notable Prakrit works include:

• Payalachchhi Namamala: This is a unique Prakrit lexicon, considered as important in Prakrit as Amarakosha is in Sanskrit. Dhanpal composed it in 1026 V.S. in Dharanagari for his younger sister Sundari. It contains 276 verses in Arya meter, providing synonyms. According to Bühler, it comprises one-fourth indigenous words, with the rest being tatsama and tadbhava.
• Rishabha Panchashika: A praise of Lord Rishabhadeva in verse.
• Vira Thui: A praise of Lord Mahavira in verse.

Other works attributed to him include "Satyapurīya-Mahāvīra-Utsaha," "Shravaka Vidhi Prakaraṇa," and "Shobhana Stuti Vritti" (a commentary on his brother Shobhan Suri's "Shobhana Stuti").

Tilakmanjari: His Masterpiece

"Tilakmanjari" is considered Dhanpal's most celebrated work, a superior Sanskrit prose narrative. It recounts the love story of Tilakmanjari, a Vidyadhari (celestial damsel), and Samaraka. Dhanpal states his intention for composing this work was to entertain Emperor Bhoja, who was eager to learn stories from the Jain scriptures, despite Dhanpal's comprehensive knowledge of all literature.

A notable anecdote surrounds the completion of "Tilakmanjari." It is said that after finishing the work, King Bhoja was so impressed that he requested to be made the hero of the epic and offered immense wealth. Dhanpal refused, angering Bhoja, who then consecrated the entire manuscript to the fire god. Distraught, Dhanpal's nine-year-old daughter reminded him of the original manuscript. Dhanpal dictated half of the work from memory, and then recreated the other half, thus completing "Tilakmanjari."

Although the story is primarily in prose, it begins with 53 verses covering invocations, praise of the virtuous, condemnation of the wicked, and lineage of the poets, as is customary in classical prose works. These verses also mention his patron, Emperor Bhoja, his Parmara dynasty, and his ancestors.

Comparison of Tilakmanjari and Kadambari

"Tilakmanjari" bears significant similarities to Bana's "Kadambari," and it is believed to be inspired by it. Dhanpal's admiration for Bana is evident in his verses praising poets, where Bana receives two verses, more than any other poet.

Both works are fictional narratives and employ "utkalikapraya" (prose with a flowing rhythm) extensively. The protagonists, Chandrapida in "Kadambari" and Samaraka in "Tilakmanjari," are both noble and heroic. Similarly, the heroines, Kadambari and Tilakmanjari, follow similar character arcs regarding their status as lovers (parakiya and mugdha before marriage, swakiya and madhya after). The primary sentiment in "Kadambari" is "purvaraga vi" (love before meeting) and "karuna vi" (pathos), while "Tilakmanjari" predominantly features "purvaraga vi." Both works share the "Panchali" style and "madhurya" (sweetness) quality.

Both epics commence with verses discussing auspicious beginnings, the praise and criticism of individuals, and the poet's lineage. In these introductory verses, both Bana and Dhanpal express their views on prose, narrative, and Champa (a mixed genre of prose and verse). Both also incorporate verses within the prose narrative.

The plots also show resemblances. In "Kadambari," King Tarapida and Queen Vilasavathi of Ujjayini are childless, leading to sadness. Similarly, King Meghavahana and Queen Madiravati of Ayodhya in "Tilakmanjari" are also childless. Both epics describe rituals like worshipping deities, revering sages, and respecting elders for the sake of progeny.

The "Shukravara" Jain temple in "Tilakmanjari" is comparable to the Mahakal temple in "Kadambari." Bhoja even expressed a desire to rename the "Shukravara" temple to "Mahakal."

"Tilakmanjari," like "Kadambari," blends secular and divine elements. "Tilakmanjari" features celestial beings, flying vehicles, islands, cities, deities, and magical artifacts, adding to its otherworldly quality.

Stylistic Similarities

Stylistically, both works are rich in literary devices. Bana is noted for his use of "parisankhya alamkara" (a figure of speech implying exclusion), which Dhanpal also employs masterfully. Both poets are also adept at "virodhabhasa alamkara" (paradox).

Distinguishing Features of Tilakmanjari

Dhanpal, in his preface, critiques excessive use of puns ("shlesha") in prose, stating that it makes the composition dense and unappealing. He also notes that readers are often put off by lengthy descriptions and complex compounds, preferring compositions that are more accessible and enjoyable. Dhanpal's "Tilakmanjari" aims for a balance, making prose literature more engaging for both scholars and the general public while preserving the tradition of "Kadambari."

Comparatively, Dhanpal's work is considered superior to "Dashakumara Charita" and "Vasavadatta" due to its engaging narrative, avoidance of overwhelming ornamentation, and skillful use of wordplay.

Dhanpal's Personality

Dhanpal is highly praised by both ancient and modern Sanskrit scholars for his successful emulation of Bana's prose style. Hemachandra, the great Jain scholar, was greatly impressed by Dhanpal's erudition. European scholars like Keith also acknowledge Dhanpal's skill in imitating Bana.

Dhanpal was known for his fearlessness and self-respect. Despite being a court poet, he upheld ethical principles, even defying King Bhoja's wishes. When Bhoja demanded to be depicted as the hero of "Tilakmanjari," Dhanpal politely refused, highlighting the vast difference between the king and the epic's hero.

He possessed a compassionate heart. Once, witnessing King Bhoja hunting, Dhanpal rebuked him for killing innocent creatures, which reportedly led Bhoja to give up hunting for life. He also criticized animal sacrifice in religious rituals, advocating for a more ethical form of worship based on truth, penance, action, and non-violence. This is said to have inspired Bhoja to convert to Jainism.

Dhanpal was also an admirer of merit and frequently praised King Bhoja's qualities, as well as advising him. He once presented a golden pot to the king after composing a verse praising his valor.

Later Life and Legacy

After the incident where "Tilakmanjari" was offered to the fire, Dhanpal left Dharanagari. Later, Bhoja invited him back and inquired about his well-being. Dhanpal's response, a satirical poem using wordplay, highlighted their shared plight of suffering despite their positions.

Dhanpal excelled in both prose and poetry, a quality recognized by scholars. Hemachandra and others frequently cite his verses in their works.

The book highlights Dhanpal's significant role in continuing Bana's literary tradition. He made prose literature more accessible and enjoyable, thus bridging the gap between scholarly and popular appeal. The text concludes by affirming Dhanpal's enduring legacy in the history of Sanskrit literature for his historical contribution to prose composition. He is remembered for his mastery of language, emotion, and his ability to make literature reach a wider audience.