Nal Davadanti Charita

Here's a comprehensive summary of the Jain text "Nal Davadanti Charita" by Ramanlal C. Shah, based on the provided pages:

Book Title: Nal Davadanti Charita Author: Vachak Meghraj Summary:

This text is a critical analysis and summary of the Jain Ras (a type of narrative poem) titled "Nal Davadanti Charitra" composed by Vachak Meghraj in the Vikram Samvat year 1664 (1608 CE). The author, Ramanlal C. Shah, details the poem's content, structure, themes, and its relationship to other Jain versions of the Nal-Damyanti story.

Key Points:

• Author and Lineage: Vachak Meghraj, the author of the Ras, mentions Shrvan Rishi as his guru and indicates his guru tradition traces back to Pardhachandra Suri, suggesting he belonged to the Pardhachandra Gacch (sect).

• Date and Publication: The Ras was composed in Samvat 1664 and was published in the third volume of "Anandkavyamahodadhi" in 1914 CE. The text notes a discrepancy in the date mentioned by R. Mansukhlal Kiratchand Mehta in "Jain Ras Mala," who attributed the work to Meghraj with a date of Samvat 1520, which is corrected by the author based on Meghraj's explicit mention of 1664.

• Structure and Content: The Ras is divided into six sections and comprises approximately six hundred and fifty verses (kadi).

  • Section 1: Begins with salutations to Shri Shantinath Tirthankar and details his life events. It then recounts the previous births of Nal and Damyanti, their birth and upbringing, Damyanti's Swayamvar (choice of groom), and Nal winning her. Each section concludes with a two-line couplet summarizing the main events.
  • Previous Births: Nal and Damyanti were previously King Mamman and Queen Viramati. They mistreated a muni while hunting, but later repented, invited him home, and received his teachings.
  • Nal's Birth and Damyanti's Age: Meghraj states Nal was born on the Khaaras (11th day of a lunar fortnight). Damyanti is depicted as being only ten years old at her Swayamvar, a detail that the author notes as potentially an exaggeration, as other poets don't mention her being so young.
  • Section 2: Covers Nal's victory over King Krishnaraj, his return with Damyanti, defeating King Kadamb, and losing his kingdom to his brother Kuber in gambling, leading to their departure to the forest.
  • Section 3: Describes how the Bhil people steal Nal's chariot, Nal abandoning Damyanti in the forest, Damyanti's dream and subsequent lament, encountering a demon, seeking refuge in a cave, saving a tapsi from a lion, Sinhakesari attaining kevalgyan (omniscience), Damyanti reaching Achalpur with Dhanudev Sarthavaha.
  • Section 4: Includes Damyanti's arrival at Rutuparna Raja's place, her charitable donations, saving Pingal the thief, and his subsequent renunciation. Harimitra Brahmin helps Damyanti find her way back to Kundinpur, where her parents console her. Nal saves a snake from fire, is bitten, and his father, Nishadh Devta, gives him divine garments. Nal arrives at Susamarpur, tames a mad elephant, and gains favor with King Dadhikarna.
  • Section 5: Depicts Nal residing with King Dadhikarna, being made to cook Suryapak, King Bhim sending a messenger to find Nal, and the planning of a fake Swayamvar. Dadhikarna arrives at Nipur with Hunk (Nal).
  • Section 6: Covers the test of the hunchback Hundik (Nal), Damyanti's recognition of Nal, Nal resuming his original form, staying with King Bhim, defeating Kuber in battle to regain his kingdom, taking initiation from Dharmaghosha Suri, and ending his life through anashan (fasting unto death). He is reborn as Dhanad in heaven. Damyanti also takes initiation, dies, and is reborn as Dhanad's wife. Later, Damyanti is reborn as Kanakvati, marries Vasudev, and attains kevalgyan.

• Influence of Rishivardhan: The author, Ramanlal C. Shah, extensively compares Meghraj's Ras with that of Rishivardhan, another poet who wrote a Nal-Damyanti story. He concludes that Meghraj was heavily influenced by Rishivardhan, often borrowing verses or adapting them with minor changes. Meghraj seems to have followed Rishivardhan's narrative structure and key plot points, including specific details like the timing of the snake-biting incident and the dialogue of Nishadh Devta.

• Meghraj's Unique Contributions and Style: Despite the strong influence of Rishivardhan, Meghraj demonstrates his own originality in:

  • The Battle with Kuber: Meghraj deviates from the tradition by depicting Nal regaining his kingdom through warfare with Kuber, rather than through gambling with his acquired knowledge, as in the Mahabharata and other Jain traditions. The author speculates on the reasons behind this deviation, suggesting it might be to avoid depicting Nal gambling again or to make the story more accessible to a general audience.
  • Didactic Couplets (Duhas): A significant feature of Meghraj's Ras is the inclusion of numerous moralistic duhas which often serve as independent aphorisms or maxims. These couplets are relevant to the narrative but can also be read and appreciated separately. The author highlights Meghraj's skill in weaving these teachings throughout the story, often using analogies and illustrating principles of ethics, virtue, and karma.
  • Descriptive Passages: Meghraj's descriptions, such as those of the monsoon, Damyanti's beauty, her suffering in the forest, the play staged by Kushala, and the battle between Kuber and Nal, are praised for their originality and skillful execution.
  • Thought and Philosophy: The author notes Meghraj's insightful reflections on life, karma, and human behavior, often presented through these duhas.

• Minor Deviations and Criticisms: While praising Meghraj's work, the author also points out minor inconsistencies or points where Meghraj's narrative deviates from the established Jain tradition without apparent justification (e.g., Damyanti's young age at the Swayamvar, the specific timing of certain events, or the inclusion of the play staged by Kushala, which is attributed to Ramachandrasuri).

• Overall Assessment: Ramanlal C. Shah concludes that while Meghraj's Ras may not reach the same literary heights as those by Nayasundar, Samaysundar, or Mahiraj in terms of plot, characterization, and natural description, it holds a significant place in medieval Jain Ras literature due to Meghraj's original contributions, particularly his didactic couplets and skillful weaving of moral teachings into the narrative. The text emphasizes Meghraj's ability to convey practical knowledge and his tendency to impart advice at every opportunity.