Mallikamakarandanatakam - Book Summary

Certainly! Here's a comprehensive summary of the Jain text "Mallikāmakarandanāṭakam" by Ramacandra Mahakavi, based on the provided pages:

Book Title: Mallikāmakarandanāṭakam Author: Ramacandra Mahakavi (with editing and scholarly contributions by Muni Shri Punyavijayaji and V. M. Kulkarni) Publisher: L. D. Institute of Indology, Ahmedabad Publication Date: February 1983

Overall Summary:

The Mallikāmakarandanāṭakam is a Sanskrit play belonging to the Prakarana genre, meaning it's a social drama with an invented plot focusing on middle-class characters and the erotic sentiment. The play, authored by the renowned Jain monk and poet Ramacandra, narrates a romantic tale filled with intrigue, supernatural elements, and moral lessons, ultimately celebrating the triumph of true love over adversity.

Key Aspects and Summary of the Plot:

The play is structured into six acts, each containing intricate plot developments and character interactions.

Author and Context:
- Ramacandra: A prominent Jain scholar and disciple of Ācārya Hemacandra. He was known for his prolific writing, including scientific works and dramas. He often faced criticism for writing plays with worldly themes, which he defended by asserting the artistic merit and the potential for moral instruction within them.
- Manuscript: The edition is based on a solitary manuscript preserved in the L.D. Institute of Indology.
- Genre: The play is identified as a Prakarana, adhering to the conventions of the genre, including an invented plot, a focus on middle-class characters, and the prevalence of the erotic sentiment.
Plot Summary (Act-wise):
- Prologue (Āmukha): The play opens with the Sutradhara (stage manager) and Nata (actor). The dialogue addresses potential criticisms against monks writing secular plays, asserting that even monks can engage in artistic pursuits. The play to be staged is announced as Ramacandra's Mallikāmakaranda. The prologue employs the Kathodghata style, where Makaranda, a character, echoes the Sutradhara's words upon entering.
- Act I:
  - Makaranda, burdened by gambling debts, resolves to lead a virtuous life and starts anew.
  - He encounters Mallikā (initially referred to as Yuvati), who, along with her maid Bandhula, is attempting suicide out of fear of an impending danger.
  - Makaranda intervenes, saving her. They fall in love at first sight. Mallikā gives him her earrings as a token.
  - Makaranda is forced to flee from gamblers, his creditors, leaving Mallikā with instructions to meet him later.
- Act II:
  - Mallikā is suffering from a love-sickness. Her foster-father, Brahmadatta, offers a reward for her protection from abduction.
  - Makaranda, identified by the gamblers, agrees to protect Mallikā. He learns about a prophecy concerning her abduction after sixteen years.
  - Makaranda discovers that Mallikā is the same young woman he saved. He uses the earrings she gave him to worship a charmed circle, revealing his identity to her.
  - Mallikā is abducted by supernatural means, leaving Makaranda in shock.
- Act III:
  - Makaranda, after a mysterious transportation, finds himself in a celestial region and meets Tapasa-Kumāra, who bears a striking resemblance to Mallikā.
  - Tapasa-Kumāra narrates his story, which is revealed to be Mallikā's own in disguise, along with the tale of her mother, Candralekhā, a banished Vidyadhara queen. Candralekhā's story includes her illicit affair with a Kirāta youth and the abandonment of her child (Mallikā).
  - Makaranda reveals his own past as a gambler and his subsequent migration. He learns about Candralekhā's hostile intentions towards him. A plot to kill Makaranda is foiled by divine intervention and the presence of Magadhikā, a maid.
- Act IV:
  - Makaranda contemplates asceticism. He learns from Magadhikā that Mallikā was transformed into a male (Tapasa-Kumāra) by Candralekhā to prevent her abduction and that she is being punished for remembering Makaranda.
  - Makaranda receives gifts and a message from Mallikā.
  - He encounters a parrot who reveals himself to be Vaisravana, transformed by Candralekhā for rejecting her advances. Makaranda restores Vaisravana to his original form.
  - Makaranda faces his rival, Citrangada, a Vidyadhara prince, and his attendant Kapinjala. Vaisravana, now restored, warns Makaranda of further dangers.
- Act V:
  - Manorama, Vaisravana's wife, expresses gratitude to Makaranda and vows to help him secure Mallikā, seeking the favor of Gandhamuṣikā, a respected nun.
  - Mallikā is shown to be refusing marriage to Citrangada, preferring death. Candralekhā is determined to marry her daughter to Citrangada.
  - Mallikā is in distress and starving herself. Manorama and Devalaka discuss the situation, with Devalaka highlighting the potential for tragedy for Mallikā.
  - Mallikā expresses her unwavering love for Makaranda and her defiance towards her mother's wishes and Citrangada's advances.
  - Candralekhā, influenced by Tamarasa, continues to push for the marriage with Citrangada, but Mallikā remains resolute.
  - Citrangada confronts Mallikā, who declares her love solely for Makaranda.
  - Makaranda arrives, captured by Citrangada's men. Mallikā reaffirms her love and willingness to face death for Makaranda.
  - Gandhamuṣikā intervenes, appearing to help Citrangada but secretly devising a plan to unite Mallikā and Makaranda.
- Act VI:
  - Makanda, Gandhamuṣikā's attendant, expresses amazement at her enmity towards Makaranda. He reports that Makaranda has been seemingly killed by Vaisravana.
  - Tamasa observes Mallikā's sudden change of heart towards Citrangada.
  - Citrangada questions Mallikā's past attraction to Makaranda. Devalaka explains it as enchantment, which Gandhamuṣikā has now removed, restoring Mallikā's affections to Citrangada.
  - Mallikā, however, still harbors love for Makaranda. Citrangada is admonished for his pursuit of an unwilling Mallikā.
  - A Vidyadhara custom is revealed: the bride is first married to the Yaksha King Kadamba, and then to the groom.
  - Mallikā and Citrangada perform this ritual. Vaisravana, now restored to his form, acts as the attendant to the Yaksha idol, and Manorama attends Mallikā.
  - During the ceremony, the Yaksha idol is revealed to be Makaranda himself, who was placed there by Gandhamuṣikā and Vaisravana as part of their elaborate plan.
  - The plot is revealed, and Candralekhā is reconciled to Mallikā's marriage with Makaranda. Gandhamuṣikā blesses the couple, wishing them success and liberation (Moksha).
Key Themes:
- The Power of Love: The play strongly emphasizes the enduring nature of true love that overcomes social barriers, supernatural obstacles, and parental disapproval.
- Karma and Destiny: The concept of past actions (karma) influencing present circumstances and future outcomes is subtly woven into the narrative, particularly through the prophecies and the characters' fates.
- Moral Conduct: The play implicitly advocates for righteous living, repentance for past misdeeds (like Makaranda's gambling), and the ultimate triumph of virtue.
- Artistic Expression and Religious Duty: Ramacandra addresses the perceived conflict between secular artistic pursuits and religious vows, asserting that art can coexist with and even enhance spiritual life.
Characterization:
- Makaranda: The hero, initially a gambler but ultimately a virtuous, brave, and resourceful individual deeply devoted to Mallikā.
- Mallikā: The heroine, strong-willed, outspoken, and steadfast in her love for Makaranda, even in the face of immense suffering and coercion.
- Candralekhā: Mallikā's mother, a Vidyadhara queen driven by passion and ambition, who resorts to extreme measures, including magic and deceit, to control her daughter's fate.
- Citrangada: The rival suitor, a Vidyadhara prince, who is proud and somewhat weak-willed, ultimately outmaneuvered by the clever plot.
- Gandhamuṣikā: A wise and influential nun who masterminds the happy resolution, subtly guiding events to unite the lovers.
Literary Style and Features:
- Language: The play is written in Sanskrit, characterized by Ramacandra's forceful and powerful style, with occasional use of Prakrit and vernacular words.
- Figures of Speech: Ramacandra utilizes various figures of speech (alamkaras) extensively, demonstrating his mastery of poetic language.
- Sentiments (Rasa): The dominant sentiment is the erotic (Śrngara), supported by elements of heroism (Vira), wonder (Adbhuta), and fear (Bhayanaka).
- Technical Terms: The play incorporates various technical terms related to Sanskrit drama, such as Nandi, Sutradhara, Amukha, Viskambhaka, Nepathya, etc., as discussed in the critical notes.

Overall Significance:

The Mallikāmakarandanāṭakam is a significant work in Jain literature and Sanskrit drama. It showcases Ramacandra's skill as a playwright and poet, blending traditional dramatic conventions with philosophical undertones and a compelling romantic narrative. The play serves as an example of how profound moral and spiritual themes can be conveyed through engaging storytelling and artistic expression.