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Nalvilasnatakam

Added to library: September 2, 2025

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First page of Nalvilasnatakam

Summary

Here is a comprehensive summary in English of the Jain text "Nalvilasnatakam" by Ramchandrasuri and Vijayendrasuri, based on the provided text:

Book Title: Nalvilasnatakam (The Play of Nala's Splendor) Author(s): Pujyacharya Shri Ramachandrasuri (main author), Pujyacharya Shri Vijayendrasuri (editor/researcher) Publisher: Shri Harshpushpamrut Jain Granthmala Catalog Link: https://jainqq.org/explore/001891/1

Introduction and Context:

This summary is based on the Gujarati preface and editorial notes of the Nalvilasnatakam, a play attributed to the renowned Jain Acharya Ramachandrasuri, a disciple of the great Kalikal Sarvajna Shri Hemchandrasuri. The publication is presented by Shri Harshpushpamrut Jain Granthmala, with the support of prominent individuals. The editorial section highlights the significance of Jain philosophy, emphasizing the concept of omniscience and the unbroken lineage of scholars. It places Acharya Ramachandrasuri within this tradition, praising his scholarly prowess and poetic talent.

The Play: Nalvilasnatakam

  • Subject Matter: The play Nalvilasnatakam narrates the life story of King Nala and Mahasati Damayanti, the renowned characters from the Mahabharata.
  • Literary Merit: The play is lauded for its elegant presentation of events, powerful emotional expression, vivid descriptions, and its ability to evoke both humor and pathos in the reader. It also incorporates philosophical insights and moral teachings, emphasizing virtues like righteousness, chastity, duty, and nobility.
  • Structure: The drama comprises seven acts (Ankas). Notably, the first act includes an introductory section (Aamukh), and the sixth act features a "Garbbhanka" (a play within a play or an embedded act), adding complexity and depth to the narrative. The arrangement of characters is considered skillful and engaging.

Historical and Literary Background:

The editorial notes provide an extensive list of Jain and non-Jain literary works that deal with the Nala-Damayanti legend. This demonstrates the enduring popularity and significance of this narrative across different traditions.

  • Jain Literature: The text lists numerous Jain works in Prakrit and Sanskrit, including:

    • Nalacharitam by Dharmasenasuri (found within Vasudevahindi)
    • Nalacharitam by Shri Hemchandracharya (part of Trishashtishalakapurushacharita)
    • Nalayanam (also known as Kuber Purana) by Shri Manikyasuri
    • Nalavilasa Natakam by Shri Ramachandrasuri (the subject of this publication)
    • Davadanti Charitam by Shri Somaprabhacharya (within Kumarapalaprabodhana)
    • Nalopakhyanam by Shri Devaprabhusuri (within Pandavacharitra)
    • Davadanti Charitam Naladadvantyupakhyanam by Shri Vinayachandrasuri (within Mallinath Mahakavya)
    • Dvadantika by Shri Somatilakasuri (within Shilopadeshamala)
    • And many more, appearing in commentaries and within other Puranic and biographical works.
    • Gujarati literature also features various rasas and choupais by Jain poets dedicated to Nala and Damayanti's story.

  • Non-Jain Literature: The text also acknowledges the vast corpus of Nala-Damayanti literature from non-Jain traditions, primarily in Sanskrit, including works by:

    • Maharshi Vyasa (in Mahabharata)
    • Shri Gunadhya Kavi (Brihatkatha)
    • Shri Kshemendra Kavi (Bharatamanjari, Brihatkatha Manjari)
    • Shri Somadeva Bhatta (Kathasaritsagara)
    • Mahakavi Harsha (Naisadhiyacharita)
    • Shri Trivikramabhatta (Naladamayanti Champu)
    • And several other poets and playwrights.

About the Author, Acharya Ramachandrasuri:

The editorial notes provide a detailed biographical sketch of Acharya Ramachandrasuri:

  • Lineage: He was a principal disciple and successor of the illustrious Acharya Hemchandrasuri.
  • Literary Output: He was a prolific writer, credited with composing around one hundred prabandhas (treatises/works), as mentioned in Prabandhachintamani. His literary contributions spanned grammar, poetry, philosophy, and logic.
  • Literary Works: Besides Nalavilasa Natakam, his other notable works include Dravyalamkara, Satyaharishchandra Natakam, Kaumudimitrananda Natakam, Raghavabhyudaya, Yaduvilasa, Nirbhayabhimavyayoga, Rohinimriganka Prakarana, Kumaravihara Shataka, Sudhakalasha Subhashita Kosha, a commentary on Hemachandra's Brihad Vritti Nyasa (53,000 verses), various devotional stotras, and more.
  • Title "Kavikataramalla": He was honored with the title "Kavikataramalla" (a formidable poet) by King Siddharaja of Gujarat for his exceptional poetic skill and sharp intellect, as illustrated by an anecdote involving a discussion about the length of days and the king's query about his intellectual prowess.
  • Intellectual Prowess: The text recounts instances where Acharya Ramachandrasuri demonstrated profound knowledge of grammar, logic, and poetry, even correcting a royal inscription.
  • Historical Period: His life spanned the reigns of King Siddharaja (c. 1174-1229 CE) and Kumarapala (c. 1174-1229 CE) of Gujarat, and he was also contemporary with King Ajayapala (1230-1233 CE). His works are cited in texts composed as early as 1241 CE (Kumarapala Prabodhana) and 1295 CE (Ganadhar Shardashatak Vritti), confirming his historical presence.
  • Martyrdom: The text recounts a poignant event where Acharya Ramachandrasuri, despite his guru's advice, refused to compromise his principles when King Ajayapala demanded him to sit on a heated iron plate. He ultimately achieved martyrdom by peacefully accepting this ordeal, adhering to his spiritual path.

Key Characters (mentioned in the text):

The text provides a list of characters, giving a glimpse into the dramatic roles:

  • Nala: King of Nishadha.
  • Damayanti: Daughter of King Bhimaratha of Vidarbha, wife of King Nala.
  • Kalahamsa: Nala's friend (vayasy).
  • Kharumukha: The jester (vidushaka).
  • Kuber: Nala's son and crown prince.
  • Bhimaratha: King of Vidarbha, Damayanti's father.
  • Pushpavati: Bhimaratha's wife, Damayanti's mother.
  • Makrika: A companion of Damayanti.
  • Kapinjala: Damayanti's female attendant (chamaragrahi).
  • Ghordhon: A Kapalika (ascetic) and an agent of Chitrasena.
  • Chitrasena: King of Chedi.
  • Meshmukha: Chitrasena's spy, also identified as Ghordhon.
  • Kosthaka: Ghordhon's follower, a spy for Chitrasena.
  • Bahuka: A cook of Dadhhiparna of Ayodhya, who is Nala in disguise.
  • Dadhhiparna: King of Ayodhya.
  • Rituparna: King of Achalapura.

Summary of the Play's Content (based on the provided text):

The provided text gives an extensive overview of the play's first few acts, highlighting key plot points and character interactions:

  • Act 1: Introduction: The play begins with the Sutradhara and a Nat (actor) discussing the play and the author's skill. They touch upon a real-life incident involving the daughter of the Sutradhara's friend, Kunatala, being exiled by her husband, which sets a somber tone. The main plot then unfolds with King Nala in an orchard, discussing his dreams with his friend Kalahamsa and the jester Kharumukha. A cryptic dream about receiving and then re-adorning a pearl necklace is interpreted by an astrologer as a sign of great fortune and impending danger. A Kapalika (ascetic) named Lambodara arrives, acting as a spy for King Chitrasena of Chedi, who intends to marry Damayanti. Nala, initially suspicious, engages with the Kapalika, who attempts to sow discord. The Kapalika is apprehended when a letter revealing his true identity as Chitrasena's spy is found. The discovery of a beautiful portrait (later identified as Damayanti's) by the Kapalika ignites Nala's desire to meet her.

  • Act 2: Damayanti's Portrait and Nala's Love: Nala is captivated by the portrait of Damayanti. His friends, Kalahamsa and Kharumukha, help arrange for a messenger (Makrika) to travel to Vidarbha and meet Damayanti. Makrika successfully conveys Nala's admiration, and Damayanti, already intrigued by Nala's story, reciprocates his interest. The play portrays the growing affection between Nala and Damayanti through their conversations with intermediaries and the presentation of Damayanti's beauty. The narrative also introduces the deceptive Kapalika, Ghordhon, who is revealed to be a spy for Chitrasena and attempts to mislead King Bhimaratha. Ghordhon is eventually punished for his treachery.

  • Act 3: The Swayamvara Preparations: The focus shifts to the upcoming Swayamvara (self-choice marriage ceremony) of Damayanti. The arrival of various kings and princes is depicted. Nala and his companions arrive, and Nala, still disguising himself, attempts to approach Damayanti. The play highlights the social setting, the interactions between characters, and the evolving emotions of Nala and Damayanti, who are increasingly drawn to each other despite the obstacles. The jester Kharumukha's interactions add comic relief.

  • Act 4: The Swayamvara and Nala's Choice: The Swayamvara ceremony takes place. Various kings are presented, and Damayanti gracefully rejects them, seeking Nala. Nala, disguised as a cook, eventually reveals himself and wins Damayanti's hand. The play depicts the political backdrop, the machinations of the enemies of Nala and Damayanti, and the eventual union of the couple.

  • Act 5: The Exile: This act likely deals with the subsequent downfall of Nala, particularly his loss of the kingdom and his wealth through a game of dice (Durodara), a common theme in the Nala legend. The text suggests Nala's exile and the hardships faced by him and Damayanti in the wilderness. The emotional toll of their separation and Nala's regret are highlighted.

  • Act 6: Nala's Suffering and Disguise: This act seems to focus on Nala's period of suffering and his disguise as a cook named Bahuka. He encounters Dadhhiparna, the King of Ayodhya, and serves him. The play likely explores the themes of karma, fate, and the resilience of the human spirit in the face of adversity. Nala's internal conflict and his longing for Damayanti are emphasized.

  • Act 7: Reunion and Resolution: This act culminates in the reunion of Nala and Damayanti. Through various events and disguises, Nala is eventually recognized. The play concludes with the restoration of Nala's kingdom and the affirmation of their enduring love and loyalty. The narrative is likely to showcase Nala's eventual redemption and the triumph of righteousness.

Overall Significance:

  • Literary and Religious Value: Nalvilasnatakam is a significant Jain work that combines literary artistry with spiritual teachings. It upholds the Jain principles of dharma, karma, and the ultimate triumph of virtue.
  • Preservation of Heritage: The publication by Harshpushpamrut Jain Granthmala serves to preserve and propagate this important literary and religious heritage for future generations.
  • Moral and Ethical Guidance: The play offers profound insights into human relationships, moral responsibilities, and the consequences of actions, providing valuable lessons for readers and audiences.

This summary provides a detailed overview of the Nalvilasnatakam, its author, its literary and historical context, and the key narrative elements as presented in the provided text.