Meghdoot Khandana - Book Summary

This document is an article from "Anusandhan" (Research) journal, issue 32, published in June 2005. It is titled "Meghdoot Khandana by Pandit Mansagar" and is an incomplete work. The article is written in Gujarati and discusses a unique commentary on Kalidasa's Meghaduta by Pandit Mansagar.

Here's a summary of the key points from the provided text:

Introduction to Meghaduta and Jain Adaptations: The article begins by acknowledging Kalidasa's Meghaduta as a famous Sanskrit classic. It mentions that many Jain and non-Jain scholars have created "messenger" poems (doota kavyas) in imitation of Meghaduta, including works like Siddhaduta, Shilduta, Chetoduta, Nemiduta, Induduta, Mayurduta, and even a "Jain Meghaduta" by Merutungacharya. Some Jain monks also wrote commentaries on Meghaduta.
The Nature of Jain Doota Kavyas: The text highlights that while Kalidasa's Meghaduta deals with earthly love ('ishqe mijazi'), Jain doota kavyas often focus on spiritual love ('ishqe haqiqi'). They describe the communication between worldly beings and the Supreme Soul, or express devotion to God, self-realization, or reverence towards gurus.
The Uniqueness of Meghdoot Khandana: This particular work, "Meghdoot Khandana," is presented as distinct from mere imitations or solutions to verse completion. The author, Pandit Mansagar, keeps Kalidasa's original verses intact but offers entirely new, extraordinary, and modern interpretations.
The Author's Intent and Method: Pandit Mansagar himself states in the introductory verses that through these new interpretations of Meghaduta, he will praise Emperor Akbar. He achieves this by breaking down and reassembling the words and syllables of Meghaduta's verses, using single-letter words, words with multiple meanings, and unusual grammatical rules. This results in entirely new meanings that are described as unprecedented and astonishing. The title "Khandana" itself implies "breaking down" or "deconstruction."
Historical Context and Connection to Hiravijayasuri and Akbar: The article draws a parallel to the well-known historical relationship between the Jain Acharya Hiravijayasuri and Emperor Akbar of Delhi. It suggests that many works were created during that period to praise these figures. The author of the commentary is praised for his exceptional talent in using a love poem like Meghaduta for such a purpose.
The Difficulty and Ingenuity of the Interpretation: The article acknowledges that the meanings derived through this wordplay and deconstruction are not easy or straightforward. In fact, they appear complex and difficult to grasp. However, it emphasizes that abandoning the traditional meanings of a famous work to create entirely new ones requires extraordinary intellect and genius.
Pandit Mansagar's Lineage and Timeline: It's mentioned that Pandit Mansagar was a disciple of Pandit Buddhisagarji, who was a disciple of Tapagachha Acharya Hiravijayasuri. This information is confirmed by a colophon at the end of verse 42 of the work. While other information about him is scarce, a note from "A Brief History of Jain Literature" suggests he was active in the latter half of the 17th century (around Samvat 1652-1671), as he wrote a commentary on "Shatarthi" during the reign of Tapa-Gachha Vijayasen Suri. The "Shatarthi" commentary likely refers to Somaprabhacharya's work.
The Manuscript and Its Condition: The transcribed version of "Meghdoot Khandana" is based on a Xerox copy of a manuscript written in the 17th century. The original manuscript is described as impure, with some portions missing or text fragmented due to errors in transcription or damage.
The Role of Munishri Dhurandharvijayji and Future Hopes: The Xerox copy was provided by Munishri Dhurandharvijayji, likely from his personal collection. The work is incomplete, and there's a strong belief that a complete version exists. A rumor suggests a complete manuscript was in the Dharamlaxmi Gnyan Bhandar in Agra, which is now said to be in the Shreekailassagarsuri Shrutbhandar in Koba. The hope is expressed that if the complete manuscript is found, the entire work can be edited and published.
Structural Observations: Unlike Meghaduta, which has no distinct "cantos" or "vishrams," this commentary's first "vishram" concludes with verse 42, and the first "sarga" (canto) is declared complete after 12 more verses (total 54 verses). It's noted that the commentary for verse 54 is missing from the manuscript.
Significance for Textual Criticism: The article highlights the value of such works for textual criticism. It references the thought of the late Pandit Dalshukhbhai Malvania, who believed that commentaries by Jain scholars on great poets like Kalidasa, Magha, and Bharavi could provide superior and more accurate readings of the original works. Some readings found in this commentary support this idea.
Acknowledgments: The article concludes by acknowledging Munishri Kalyanakeertivijayji for preparing a readable copy from the manuscript and Munimitra Shri Dhurandharvijayji for providing the manuscript copy. It also appeals to scholars and monks to help locate other manuscripts of this work.
The Commentary's Style (from verses 1-42): The bulk of the provided text consists of the commentary (vyakhya) on the initial verses of the "Meghdoot Khandana." This commentary is highly complex, involving intricate wordplay, etymological analysis, and reinterpretation of Sanskrit terms to fit the narrative of praising Akbar and Hiravijayasuri, often attributing spiritual or political meanings to Kalidasa's descriptions. The commentary uses a specific approach to dissecting words and syllables to create novel meanings, often referencing other Sanskrit texts and grammatical principles.

In essence, the article introduces a rare and intellectually ambitious Jain commentary on Meghaduta that reinterprets the classic poem through a unique linguistic and interpretive lens, aiming to praise a historical Jain Acharya and the Mughal Emperor.