Parichaya Thodo Pan Chap Ghani Undi - Book Summary

Here is a comprehensive summary of the provided Jain text, "Parichaya thodo pan Chap Ghani Undi" by Sukhlal Sanghavi, focusing on the author's impressions and interactions with Zaverchand Meghani:

The author, Sukhlal Sanghavi, recounts his initial encounters and evolving impressions of the renowned Gujarati litterateur, Zaverchand Meghani. The text highlights how, despite limited direct interaction, Meghani left a profound and lasting impact on Sanghavi.

Early Encounters and First Impressions:

Sanghavi's first encounter with Meghani's name was in 1922 while he was in Valukad village, near Bhavnagar. During this time, he was staying in a historic house where the poet Kalapi once resided, dedicating himself to writing and contemplating the Tattvartha Sutra. He heard folk songs sung by local women, particularly by a woman named Meghiben. His companion, Chotalal Maganlal (owner of Gujarati Sahitya Mandir), diligently recorded these folk songs. When Sanghavi questioned the utility of collecting so many "village songs," Chotalal mentioned Zaverchand Meghani, who had a vast collection of folk songs and was also a singer, lamenting that Meghani's talent was not fully appreciated. This was the first time Sanghavi heard Meghani's name, planting a seed of curiosity.
Later, at a gathering in Ahmedabad, Sanghavi heard Meghani sing for the first time. His immediate impression was that the name "Meghani" was truly fitting. He described Meghani's voice as "sweet like honey, deep, and delightful," capable of captivating the audience, making them dance like peacocks to his "stern, roaring voice" and engage with his rich singing. Though he couldn't meet Meghani in person at that time, the desire to do so was born.

Deepening Impressions through Literature and Interaction:

Sanghavi had Meghani's "Rasdhar" series at home but hadn't read them. When he finally had leisure, he listened to parts of these books. This experience evoked memories of rural life and folk songs he had absorbed in his youth, which now felt like "impressions from a past life."
A significant meeting occurred in Mumbai after the passing of Mrs. Damayantiben. They shared a meal, providing an opportunity for open conversation. Sanghavi realized that Meghani was not just a gifted singer but also a person with a pure heart, rich in thought and emotion. He felt an immediate connection, dispelling any sense of being strangers. This further strengthened his desire to know Meghani better. Despite Meghani's widespread fame and Sanghavi's possession of some of his books, he admitted to having read or heard very little of his work until then.
Sanghavi occasionally heard Meghani's writings in "Phoolchhab" magazine, particularly his "Sambela na Soor" (Tunes of the Downpour) and "Kalam ane Kitab" (Pen and Book) in "Janmabhoomi." These brief exposures led him to correctly surmise that Meghani was the author. He admired the "gentle but torrential flow of Kathiawadi language" and the "informative, imaginative, and learned thoughts" in Meghani's writings, recognizing his "insightful and impartial nature." He felt that if "Manthan" and "Chakravak" in "Prajabandhu" were thought-provoking, then "Sambela na Soor" and "Kalam Kitab" were even more so, hinting at further intellectual depth. This solidified Sanghavi's desire to hear more of Meghani's books, a thirst that remained unquenched.

Concerns about Meghani's Health and Work Ethic:

In the summer of 1941, Meghani visited Mumbai and was invited to sing. Sanghavi, aware of Meghani's frail health, requested him not to sing and asked the audience not to insist. However, Meghani spontaneously began to sing after another guest sang a Hindi song, continuing his performance. Sanghavi's apprehension grew as Meghani's performance extended beyond the expected duration.
He later had the opportunity to hear Meghani's lecture at Mumbai University. He was impressed by Meghani's ability to speak continuously for an hour at a high volume to a large audience, while also offering critiques of scholars. Sanghavi advised Meghani to limit his presentations and rest more, especially at night. Meghani's response astonished him: he explained that he dedicated his mornings to meticulously structuring his speeches, relying on his memory, and continued to work on them at night. Sanghavi expressed his concern that this approach was "not good, it is life-threatening."
After the university lectures, at a gathering in Bharatiya Vidya Bhavan, presided over by Shri Munshi, Meghani sang folk songs for three hours. Munshi aptly called him "Vyas" (referencing the epic poet Vyasa), drawing a parallel between Vyasa's expansive and varied work in the Mahabharata and Meghani's singing and speaking. Sanghavi, however, felt a persistent concern that Meghani, like many speakers, did not maintain a balance between his energetic delivery and the limits of time. He believed Meghani got carried away by his passion, while the audience focused solely on their own auditory pleasure, disregarding the speaker's strength and condition.

Reflections on Meghani's Passing and Life Philosophy:

Sanghavi attended an history conference in Ahmedabad in December 1944. He noted the different styles of speakers, including Munshi's elaborate speech, Professor Narayan's concise and clear address, and Dhumketu's humorous yet insightful talk. Meghani's presentation stood out, reinforcing Sanghavi's impression of his empathy.
In April 1946, at a gathering in Blavetsky Hall, Sanghavi attended Meghani's singing despite his imminent departure for Calcutta. Meghani approached him, and they had a personal conversation. Meghani mentioned delaying his son Mahendra's trip to America for better preparation, highlighting his commitment to his work. Sanghavi again observed Meghani's performance extend for nearly three hours, causing him to worry about the strain and lack of time management. He shared his concern with a companion, stating that if Meghani continued to sing excessively and disregard time limits, he would not be able to enjoy a long life. He criticized the audience and even other writers and thinkers for encouraging Meghani to continue rather than advising him to stop, calling this "great ignorance." He questioned how such a message about self-preservation could be conveyed to even ordinary listeners.
Upon learning of Meghani's tragic death in Kashi about 11 months later, Sanghavi felt his earlier predictions were confirmed. He believed that even powerful and dedicated individuals suffer and their followers are disadvantaged when they fail to maintain a balance between their energy and their work.
He drew a parallel with Gopal Krishna Gokhale, whom Mahatma Gandhi had stated worked excessively, not adhering to the rules of life. Gandhi believed that while Gokhale's work was valuable, his overexertion ultimately harmed his own service and deprived people of his prolonged service. Sanghavi felt the same applied to Meghani.
Sanghavi argued that extraordinary individuals should have longer lives to contribute more to their fields and benefit society. He stressed that the failure to maintain proportion by both the giver and receiver of service ultimately leads to loss for both. He cited modern European writers like H.G. Wells and Bernard Shaw, who lived long lives dedicated to literary creation, suggesting they understood the art of living and maintaining a balance. He believed that figures like Thakkar Bapa and Gandhi in India achieved longevity and public service through this very equilibrium.

Final Impression and Legacy:

Sanghavi had only listened to three of Meghani's books in their entirety: "Vevishal," "Prabhu Padarya," and "Manasai na Diva." He also heard Meghani's address at Mahida Chandrak, his presidential speech at the Rajkot Literary Conference, and read his articles "Sanskruti" and "Lokkavita ne Parasmani." Despite this limited exposure, Sanghavi's deepest impression was Meghani's empathetic nature, his fearless and unbiased presentation, and his ability to maintain impartiality, a quality he believed was rare in other capable poets, singers, or writers. He saw Meghani as someone who transcended narrow "fences" or categorizations common in the literary world. Meghani was able to identify and present flaws as readily as he identified and presented virtues. Sanghavi concluded that when poets or writers are carried away by passion or "vagaries," they infect themselves and future generations with a "contagious disease." He felt Meghani was completely free from such a disease, leaving an indelible mark on his mind.

The text concludes with a note that this excerpt is from "Zaverchand Meghani Smrutigranth 'No Ladakvayo'."