Mahopadhyayaji Ke Sahitya Me Laukikatattva - Book Summary

Here is a comprehensive summary of the provided Jain text, "Mahopadhyayaji ke Sahitya me Laukikatattva" by Manohar Sharma:

The article "Mahopadhyayaji ke Sahitya me Laukikatattva" by Dr. Manohar Sharma highlights the significant contribution of Jain poets to Rajasthani literature, with a particular focus on Mahopadhyay Samaysundarji. Sharma posits that Samaysundarji was a great scholar and an accomplished poet whose multifaceted works enriched Rajasthani literature. He was a unique figure among medieval Indian saint-poets, dedicating a long period to literary pursuits and the propagation of Jain dharma among the common populace.

A key characteristic of Samaysundarji's literary output is the harmonious integration of both scriptural knowledge (Shastra) and elements of folk culture (Laukik). Jain monks, by practicing and promoting righteous conduct (Shildharma), naturally incorporated worldly elements into their writings. Samaysundarji's literature is particularly noted for its abundant infusion of folk elements, making it a valuable resource for studying medieval Rajasthani (Gujarati) folk literature.

The author emphasizes the power of folk songs (lokgeet) in their ability to convey meaning through simple beauty of words and melodies. These songs are highly effective for disseminating any concept to the masses, as people readily embrace and internalize teachings presented in familiar tunes. Jain monks skillfully utilized this psychological understanding in their songs, leading to their teachings resonating deeply with the public and simultaneously preserving a rich collection of folk songs. The article notes that the songs composed by Jain monks are currently the sole available resource for studying ancient Rajasthani folk songs. Samaysundarji specifically composed his songs based on popular folk tunes ("desis") and even indicated the initial lines of these tunes in his compositions. A comprehensive list of these "desis" can be found in "Jain Gurjar Kavi (Part 3)."

Samaysundarji was also a keen scholar of music and incorporated his songs into various ragas, raginis, and also into popular folk "dhal" (tunes). The proverb "Samaysundar ra geetda ne Rane Kumbha ra bhitada" (The songs of Samaysundar and the walls of Rane Kumbha) attests to the widespread popularity of his songs. The article attributes this popularity to his adeptness in adopting the melodies of folk songs for his compositions. Several examples are provided where the initial lines of popular folk songs are referenced, followed by Samaysundarji's adaptation. These examples span various themes, including devotional stories, romantic sentiments, and social life. Sharma notes that Samaysundarji sometimes indicated the geographical origin or specific musical traditions associated with these "desis."

Beyond folk songs, the article delves into Samaysundarji's use of folk tales (lokkatha). Jain scholars are lauded for their role in preserving folk tales, often using them for moral instruction and documenting them for posterity. These folk tales are also found in the commentaries (tikas) of Jain scholars, serving as educational tools for children. Jain poets frequently drew inspiration from folk tales for their narrative works, adapting them into religious narratives by adding Jain characters, settings, and attributing events to past karma. This practice, similar to the use of folk tales in Buddhist literature, showcases a shared approach to incorporating popular narratives into religious contexts, albeit with distinct stylistic nuances. The repeated use of the same folk tale by different Jain scholars underscores its popularity and didactic value.

The article then focuses on Samaysundarji's narrative works, such as "ras," "chaupai," and "prabandh," and briefly discusses "Shri Punyatar Charitra Chaupai" as an example. This narrative recounts the story of Pundar Seth, his childless wife Punya, and their son Punyasara. The story involves Punyasara's childhood, his education, a dispute with Ratnavati in school, his subsequent gambling addiction, losing a queen's necklace, and his exile into the forest. A significant event occurs when Punyasara overhears two celestial beings discussing a unique wedding in Vallabhi city. He is magically transported to Vallabhi, where he marries seven daughters of Sundar Seth. After his return, he leaves a cryptic message on a wall. Meanwhile, Ratnavati, upon learning of Punyasara's whereabouts, disguises herself as a male merchant and travels to Gopachal to find him. She establishes herself and is admired by Rajavati, who falls in love with her disguised persona and seeks her hand in marriage. The narrative culminates with the revelation of Punyasara's identity and his reunion with his wives, including Ratnavati and Rajavati.

The article identifies several common motifs in Punyasara's story that appear in other folk tales, such as:

Obtaining children through divine worship.
Young men and women studying together, leading to love or conflict.
A father's insistence on a specific marriage for his son.
A merchant's son being disowned for losing wealth.
The protagonist overhearing divine or celestial conversations and benefiting from them.
Traveling to distant lands via flying trees, acquiring wealth, and marrying.
A protagonist marrying a woman already married in a distant land.
The protagonist leaving secretly after writing a message on a wall or garment.
The bride disguising herself to find her husband and eventually succeeding.
A woman in disguise marrying another woman, who is then married to her actual husband.
The protagonist, upon returning from exile, becoming wealthy and marrying a beautiful wife.

The article draws a parallel between the disguising of the heroine and her subsequent marriage to another woman in Samaysundarji's tale and Shakespeare's "Twelfth Night," highlighting the universality of folk themes. It also mentions that Samaysundarji concludes his narratives with accounts of the protagonist's past lives, in accordance with Jain tradition.

Finally, the article discusses Samaysundarji's incorporation of folk proverbs and sayings ("lok-subhashit") into his poetry, which enhances their power and ensures their preservation. He also skillfully integrated Rajasthani proverbs and common sayings, making his works more impactful and relatable. Examples of Prakrit verses and Rajasthani proverbs are provided, which are commonly used in everyday conversations and add authority to the speaker's statements. The author concludes that the presence of these worldly elements in Mahopadhyay Samaysundarji's literature is the primary reason for its immense popularity, and encourages further research into this aspect of his work.