Nemiranga Ratnakar Chanda Aswad Ane Path Arthshuddhi - Book Summary

Here's a comprehensive summary of the Jain text "Nemiranga Ratnakar Chanda Aswad ane Path Arthshuddhi" by Kantilal B. Shah, based on the provided pages:

Book Title: Nemiranga Ratnakar Chanda Aswad ane Path Arthshuddhi Author: Dr. Kantibhai B. Shah Publisher: ZZ_Anusandhan

This comprehensive review discusses the Jain text "Nemiranga Ratnakar Chanda," a significant metrical work by the 16th-century Jain poet Lavanyasamaya. The book, authored by Dr. Kantibhai B. Shah, analyzes the poem's aesthetic appreciation and offers corrections to its textual interpretation.

About the Poet Lavanyasamaya: Lavanyasamaya was a notable Jain monk-poet who lived in the 16th century of the Vikram era. According to his own introduction in the work 'Vimalprabandh,' he was born in Ahmedabad in Samvat 1521 (1465 CE). He was the youngest of four sons, his worldly name being Laghuraj. He took religious vows in Samvat 1529 (1473 CE) at Patan, under Lakshmi Sagar Suri, a disciple of Somasundarsuri of the Tapagachha. Samayaratna was his spiritual teacher. His poetic talent bloomed at the age of sixteen, leading him to compose various long and short works like 'Ras,' 'Chaupai,' 'Chhand,' 'Samvad,' 'Ekviso,' 'Hamchadi,' 'Stavan,' 'Sajhja,' and 'Vivahlo.' 'Khimrishi, Balibhadra, Yashobhadra Ras' (composed in Samvat 1589) is considered his last known work. Thus, his lifespan is estimated to be from Samvat 1521 to 1589 (1465 to 1533 CE).

Significance of "Nemiranga Ratnakar Chanda": Similar to his historical narrative 'Vimalprabandh,' "Nemiranga Ratnakar Chanda" is considered Lavanyasamaya's most important metrical composition, written in Samvat 1546 (1490 CE). It holds considerable historical importance in medieval Gujarati literature, appearing about a century after Shridhar Vyas's notable work 'Ranmall Chhand.'

Content and Structure of "Nemiranga Ratnakar Chanda": The poem recounts the life of the 22nd Jain Tirthankara, Neminatha, from his birth to his attainment of omniscience (kevalpad-prapti). The narrative centers around Neminatha's wedding, with events preceding and following it elaborating the story. Key episodes include:

The Wedding Context: Krishna's palace queens attempt to persuade Nemi to marry, engaging in playful banter and making appeals. Nemi outlines the difficulties of married life and the troubles a wife can cause a husband. Ultimately, he gives his silent consent to the marriage.
Neminatha's Renunciation: The poem describes Nemi's departure for the wedding and the slaughter of animals and birds for the feast. Hearing their cries, Nemi experiences detachment. He turns back from the wedding pavilion.
Rajul's Suffering: The separation causes immense grief to Rajul (Rajimati).
Neminatha's Enlightenment: Nemi takes religious vows on Mount Girnar and attains omniscience.
His Teachings and Rajul's Acceptance: Nemi delivers his sermons, and subsequently, Rajul, having understood his message, also embraces asceticism.

Poetic and Metrical Features: The poem is rich in various poetic devices that create a musical quality and aesthetic appeal, contributing to its sung nature, which is inherent in its title 'Chanda' (metrical composition). These include:

Alliteration and Rhyme: End rhyme (antyanupras, charanan-tanpras), internal rhyme (aantaranupras), word alliteration (shadanuparas), letter alliteration (varnasagai), wordplay (yamakprayoga), and onomatopoeic words (ravanukari shabdavali).
Metrical Variety: The poem is composed primarily in metrical patterns based on syllable count (matrameḷa chhanda), such as Doha, Rola, Harigit, Arya, Charanukul, Padmavati, and Paddhati.
Echoing and Repetition: A unique feature is the poet's use of "uthalana" (echoing) where the last word(s) of a line are repeated at the beginning of the next, observed in over 30 instances. For example, "jita vayane chand" might be followed by "jita jita vayani chandala."

Division of the Work: The entire poem is divided into two sections (adhikar): the first with 10 verses (kadi) and the second with 162 verses, totaling 252 verses.

Detailed Analysis of Sections:

Beginning: The poet starts with prayers to Goddess Saraswati for inspiration and clarity of thought. The first verse immediately showcases end-rhyme and wordplay.
Poetic Embellishments: The author highlights how the poet adorns the external form of the work with alliteration and rhyme, giving examples from the first two verses. The poet's commitment to metrical diversity is expressed in the fifth verse ("nav nav chhndi kavit kahau").
Neminatha's Birth and Childhood: Verses 21-25 describe Neminatha's birth celebrations, with gods and humans rejoicing, women singing auspicious songs, musical instruments playing, and bards and minstrels welcoming the birth.
Neminatha's Strength: Verses 26-40 detail the infant Nemi's attire and ornaments, followed by a detailed description of his physical prowess. He lifts heavy stones, wields maces, blows conch shells, and moves chariots in Krishna's armory. The poet uses onomatopoeic verbs and humorous touches to depict the impact of Nemi's strength, as seen in verses 1/33 and 1/34.
Persuasion by Krishna's Queens: When Krishna tries to take Nemi's hand, Nemi lifts Krishna onto his hand and swings him. Krishna, surprised by Nemi's strength, wonders why such a powerful being remains without a wife. To please Nemi's parents, Krishna sends the queens of his inner palace to persuade Nemi to marry. They use various analogies, witty remarks, and jokes. Nemi, in response, describes the tribulations of married life and the annoyance a wife can cause, reflecting the harsh realities of domestic life, including constant demands and dissatisfaction (verses 1/64, 1/68). The queens retort by saying that just as there are ignoble women, there are also noble women like Sita, who share their husband's joys and sorrows, are charitable, virtuous, and can redeem seventy-one generations.
Rajul's Beauty: Verses 11-23 of the second section describe the beauty of Rajul (Rajimati), daughter of King Ugrasena. This description is enhanced by similes, metaphors, and especially antithetical comparisons (vyatirek).
Wedding Preparations and Procession: The text details the wedding preparations, reflecting the celebratory customs of the time, including the pavilion's construction, various food items, and serving rituals. The description of Neminatha's wedding procession highlights the bridegroom's attire, the excitement of the wedding party, and the joy of singing, music, dance, and games.
Rajul's Adornment: Verses 68-69 describe the bride Rajul's adornments. A mention of the right side of her body trembling serves as a foreboding of misfortune, reflecting contemporary beliefs.
Nemi's Turning Point: The turning point in Nemi's life is the impending slaughter of animals and birds for food. The cries of the animals melt Nemi's heart, and their agonizing death throes create a heart-wrenching picture.
Rajul's Separation Grief: Verses 81-110 artistically depict Rajul's grief, her conversations with her friends, and her reproaches towards Nemi. The use of rhyme in describing her sorrow is noteworthy. Rajul removes all her ornaments, breaks them, unties her hair, and abandons food and floral beds, rejecting her friends' pleas to wear them again.
Rajul's Reproach and Renunciation: Rajul questions Nemi, "Why did you abandon divine pleasure and go to the mountains?" and "Why did you keep this desire for the ninth life when you have shown such affection in eight lifetimes?" Her ultimate statement is, "The hand that did not let go of the hand in the elephant, that hand I place on my head."
Neminatha's Sermons and Rajul's Acceptance: Rajul, along with her family, goes to Girnar and is filled with joy upon seeing Nemi delivering his sermon in the Samavasarana. She bows to him and listens to his teachings, which describe the severe hellish punishments for those who commit violence and the rewards for those who follow Jain principles. Rajul, enlightened, embraces asceticism. Neminatha, after enlightening a large community of monks, nuns, and lay followers, attains the supreme state.
Conclusion: The poet concludes by mentioning the lineage of his gurus, the time of composition, and his own name.

Editorial Notes and Textual Corrections (Path Arthshuddhi): The review section focuses on the editing and textual analysis of the work, particularly addressing potential inaccuracies in the previously published edition edited by Dr. Shivalal Jesalpura in 1965. Dr. Shah points out several instances where he believes the original intent of the poet might have been misunderstood or misrepresented in the earlier editing. These include:

Interpretation of 'Uthaan': Dr. Shah suggests the editor missed the intended meaning of 'uthaa' (proverbs/sayings) in a particular verse, leading to a misinterpretation of the phrase.
Word Division: He questions the editor's division of words and subsequent interpretations, arguing for alternative readings that better fit the context and poetic devices.
Rhyme and Alliteration: Dr. Shah emphasizes how certain editorial choices have potentially obscured instances of rhyme and alliteration that would have enriched the poem's musicality and meaning.
Word Meanings: Several specific word meanings provided in the earlier edition are challenged. For example:
- 'Shaana' is interpreted as a grain outlet rather than 'chhana' (dung cakes).
- 'Dikshya' is corrected to mean 'initiated' rather than 'seen'.
- 'Naravaravinda' is suggested to mean 'kings' or 'group of kings' rather than deriving from 'varied kings.'
- Other words like 'anoori,' 'ujani,' 'ghathi,' 'vedi,' 'todai,' 'khurma,' and 'dravy' are also corrected with their likely intended meanings.

Dr. Shah credits the "Madhyakalin Gujarati Shabdakosh" and notes made by Dr. Harivallabh Bhayani for aiding his textual analysis.

In essence, "Nemiranga Ratnakar Chanda Aswad ane Path Arthshuddhi" is a scholarly work that not only appreciates the aesthetic and narrative brilliance of Lavanyasamaya's poem but also critically examines and refines its textual integrity, offering a deeper understanding of this significant piece of Jain literature.