Pradyumna Charit

This summary provides a comprehensive overview of the "Pradyumna Charit," a significant work of early Hindi poetry, based on the provided Jain text.

Book Title: Pradyumna Charit (प्रद्युम्न चरित) Author(s): Sadharu Kavi (सधारु कवि), edited by Chainsukhdas Nyayatirth (चैनसुखदास न्यायतीर्थ) Publisher: Kesharlal Bakshi, Jaipur Catalog Link: https://jainqq.org/explore/090362/1

Overview:

The "Pradyumna Charit" is presented as a seminal work in early Hindi poetry (आदि कालिक हिन्दी काव्य). The publication by the Digambar Jain Atishay Kshetra Shri Mahavirji highlights its importance in the context of preserving and promoting Jain literature. This work is particularly noted for its literary merit, narrative richness, and its contribution to the understanding of the early stages of the Hindi language.

Publisher's Note (Prakashiya - Prakashkiya):

The publisher expresses pleasure in presenting this ancient Hindi composition. The manuscript was first discovered about 4-5 years prior to publication while cataloging the scriptures in the Badichand Ji temple in Jaipur. Subsequently, another copy was found in the Jain temple scripture repository in Kama (Bharatpur). Recognizing the work's utility, the committee decided to publish it.

This publication is the eighth under the auspices of the Jain Sahitya Shodh Sansthan (Jain Literature Research Institute) run by Shri Mahavirji Kshetra. The institute has previously published several important works, including catalogs of Jain scriptures in Rajasthan, collections of inscriptions, and other significant research-based books. The publisher emphasizes that these publications have significantly contributed to Indian literature, especially Jain literature, as evidenced by their mention in literary history books and the growing interest from scholars.

The institute's primary focus is on preparing and publishing catalogs of Jain scripture repositories across Rajasthan. However, they also aim to publish unknown and important materials found within these repositories. To date, they have prepared catalogs for over 70 such repositories and have collected or introduced numerous unknown works in Prakrit, Apabhramsha, Sanskrit, and Hindi. The largest collection of Apabhramsha and Hindi literature is found in the repositories of Jaipur, Ajmer, and Nagaur. Early Hindi compositions dating back to the 13th-14th centuries, such as the "Jindatt Chaupai" by Ralha Kavi (found in 1925), are among these discoveries.

The publisher expresses a desire to publish the catalog of all Jain manuscript collections, regardless of size, to bring this vast literature to light and to properly organize these valuable resources. They acknowledge the financial constraints but are committed to completing this task efficiently, ideally within 5-7 years with societal support. The fourth part of the catalog, detailing about a thousand manuscripts, is nearly ready for publication. The editing of "Jindatt Chaupai" from the 13th century has also begun and is expected to be published soon.

The publisher expresses gratitude to Shri Kasturchand Kasliwal, Shri Anupchand Nyayatirth, and particularly Shri Chainsukhdas Ji Sahab Nyayatirth for their significant contributions to the editing and publication of "Pradyumna Charit." Dr. Mataprasad Gupta is thanked for writing the preface.

Preface (Prakathan - Prakathan):

Dr. Mataprasad Gupta addresses the long-standing debate about the origins of Hindi literature. He notes the earlier theory pointing to Pushpa or Puṣya as the first poet in the 8th or 9th century, though no works were found. The discovery of works by the esteemed Apabhramsha poet Pushpadant led to the speculation that the referred Puṣya might have been Pushpadant. However, recent discoveries have brought to light the works of over four dozen Apabhramsha poets. A key question arises: should this Apabhramsha literature be treated as separate from Hindi literature or as an early form of Hindi?

Dr. Gupta delves into linguistic history, stating that prominent scholars believe Hindi, like Bengali, Marathi, and Gujarati, is a modern Indian Aryan language. Its various dialects evolved from the Apabhramsha spoken in those regions. He further explains that Apabhramsha elements gradually diminished, and modern Indian language elements emerged, creating a transitional period. Literature from this period, containing elements of both Apabhramsha and modern Aryan languages, poses a classification challenge. A practical solution is to consider it a shared asset of both literatures, representing both the late Apabhramsha and the early modern language periods. Scholars have the duty to classify this transitional literature based on linguistic features.

Dr. Gupta highlights the significant role of Jain scholars and saints in the development of this literature, even before the transitional period. They continued to compose in Apabhramsha with mixtures of modern languages until the 17th century, as seen in the work of Jain poet Bhagwatidas, 'Mrigankalekhacharitra', from the 18th century Vikram Samvat. This demonstrates the extraordinary contribution of Jain creators to the enrichment of Apabhramsha literature. The dedication of Jain creators to Apabhramsha for eight centuries even after it ceased to be a spoken language is a noteworthy aspect of Indian literary history, indicating their religious devotion to Apabhramsha. Therefore, it is not surprising that the most significant flow of refined Apabhramsha and transitional Apabhramsha literature is found in the works of Jain scholars and poets.

Dr. Gupta suggests another reason for the prevalence of Jain poets and saints in this literature: the meticulous preservation of their literature by Jain followers. Most of the Indian literature from the Apabhramsha and transitional periods has been recovered from Jain repositories. Thus, the abundance of Jain works in this literature is natural. Evidence suggests that non-Jain poets also composed extensively in this era, and their works should be actively sought. Examples like the "Prakrit Paungal" cite many verses by non-Jain poets. Similarly, verses cited by Hemachandra and Jain prose writers also include a large number of non-Jain compositions. The works of Buddhist siddhas are well-known. Therefore, it must be acknowledged that a substantial body of non-Jain literature also existed during these periods and requires further exploration.

Access to Jain repositories, once difficult, has now been facilitated. The systematic cataloging project initiated by the research department of Atishay Kshetra Shri Mahavirji, Jaipur, is bringing many unknown works from the Apabhramsha, transitional Hindi, and early Hindi periods to light. Among these, "Pradyumna Charit" by Sadharu Kavi is considered a brilliant and valuable gem. Its composition is attributed to Samvat 1311, 1411, and 1511, but 1411 is considered the most accurate date. Works with such precise dates from this period are rare, making this text even more significant. Structurally, it is a collection of "Satsai" in "Chaupai" and "Vastu-bandh" meters and is highly important from a poetic perspective. The discovery of this text significantly enhances our understanding of early Hindi literature. The editors, Pt. Chainsukhdas Nyayatirth and Pt. Kasturchand Kasliwal, have done an excellent job editing and preparing it for publication by Atishay Kshetra Shri Mahavirji, Jaipur. The Hindi literary world owes a debt of gratitude to this institution for this service.

The editors have meticulously collated the best available manuscripts, providing detailed textual variations. They have also provided a complete Hindi translation of the work. Accurately translating old Hindi works is challenging due to the lack of comprehensive dictionaries. Even the largest Hindi dictionary, "Hindi Shabda Sagar," offers little help. The linguistic study of Old Hindi is also incomplete. Despite these challenges, the editors have made a commendable effort to provide an accurate translation. Their introduction offers a comprehensive review from various perspectives, aiding readers in understanding the work and its significance. Dr. Gupta congratulates the editors and wishes them success in their plan to edit more newly discovered ancient Hindi works. He notes that the modern system of textual research could have made the text even more authentic and hopes this will be addressed in future editions.

Introduction (Prastavana - Prastavana):

The introduction details the scholarly journey to identify and publish "Pradyumna Charit."

• Early Mentions: The work was first brought to scholarly attention by Rai Bahadur Hiralal in his "Search Report" (1923-24). Later, Babu Kamtaprasad's "Sankshipt Itihas Hindi Jain Sahitya" mentioned it, based on a notice in the "Anekaant" journal, which mistakenly described it as prose. Dr. Vasudevsharan Agrawal, in his preface to that work, requested its prompt publication, assuming it was prose.
• Correction of Genre and Date: Shri AgarChand Nahta of Bikaner, upon reading Kamtaprasad's book, realized that "Pradyumna-Charit" was poetry and its composition date was Samvat 1491.
• Nahta's Article: Nahtaji's article in "Veer Vani" (Samvat 16 Ka Likhit Pradyumna Charitra Kya Gadya Mein Hai? - Is the Samvat 16 Written Pradyumna Charitra in Prose?) clarified that the poet's name was not Rayachchha but Sadharu or Sudharu, son of Saha Maharaj and Gunavati, born in Agroha, possibly residing in Rayachchha. The date was identified as Samvat 1411, noting its significant importance as a clearly dated composition from that era.
• Discovery of Manuscripts: The author was cataloging Jain manuscripts in Rajasthan in 1954 when a copy of "Pradyumna Charit" was found in the Badichand Ji Mandir's scripture repository in Jaipur. Later, copies were also found in the two temple repositories in Kama (Bharatpur).
• Manuscript Variations: Upon comparing the manuscripts, differences were found in readings, initial passages, and even the composition date, with an 18-year difference. The Agarwal Panchayati Mandir copy had Samvat 1311 but was incomplete and appeared newer. The Khandelwal Panchayati Mandir copy dated Samvat 1411 was older. This latter copy was used as the primary source ('Ka' copy).
• Further Discoveries and Nahta's Research: A manuscript was found in Rewa by a Nagari Pracharini Sabha researcher, briefly introduced in "Saptahik Hindustan." Nahtaji's detailed and research-oriented article, "Samvat 1311 Mein Rochit Pradyumna Charitra Ka Karta" (The Author of Pradyumna Charitra Composed in Samvat 1311), was published in "Hindi Anushilan."
• Publication Decision: The decision was made to publish the work by Shri Mahavir Kshetra. Two copies were already available, and two more were obtained from Shri Nahta, one from the Delhi scripture repository and another from the Sindhi Oriental Institute, Ujjain.

Description of Manuscripts:

The introduction provides detailed descriptions of four primary manuscripts used for editing, designated as follows:

1. Jaipur Manuscript (Badichand Ji Temple): 34 folios, 11.5 x 4.5 inches. Written in Samvat 1605 (Ashoj Budhi 3, Tuesday). Contains 68 verses (the difference in verse count is explained by the inclusion of 'Vastu-bandh' verses with 'Chaupai'). This copy formed the base text for the published edition, with 781 verses in the final version.
2. Kama Manuscript (Khandelwal Jain Panchayati Mandir - 'Ka' Copy): 32 folios, 10 x 4.5 inches. Contains 716 verses (with a scribal error in numbering). Appears ancient, possibly from the 17th century or earlier. Missing 6 folios (pages 23-28).
3. Delhi Manuscript ('Kha' Copy): Found by La. Pannalal Agrawal. Contained 72 folios in a collection. 714 verses, 13 more than the original. Written in Samvat 1648 (Jeth Sudhi 12, Thursday) in Hisar by Dayal Das.
4. Ujjain Manuscript ('Ga' Copy - Sindhia Oriental Institute): 713 verses. Written in Samvat 1635 (Ashoj Budhi 11, Sunday) by Navratna, disciple of Bhagti Ratna.

A fifth manuscript, received in November 1958, provided clarification for some obscure passages. It stated the composition date as Samvat 1311 (Bhadva Sudhi 5) but lacked the extensive opening praise section found in other copies.

The Story of Pradyumna:

The text describes Pradyumna Kumar as one of the 166 auspicious figures among Jains, counted among the 24 Kamadevas (exceedingly handsome). He was the son of Sri Krishna and Rukmini, destined for liberation from this birth. His life story is filled with dramatic events and illustrations of human strengths and weaknesses.

The narrative begins with the marriage of Krishna and Rukmini, facilitated by Krishna's forceful abduction of Rukmini from her intended marriage to Shishupala, following a prophecy and a divine request from Narada. Rukmini and Satyabhama make a pact regarding their firstborn sons. Both queens give birth on the same day. Rukmini's son, Pradyumna, is considered the elder. However, on the sixth night, Pradyumna is abducted by the demon Dhumaketu and buried under a rock. The Vidyadhara king Kalasambhara, passing by, discovers the beautiful child and raises him as his own.

Meanwhile, Rukmini grieves the loss of her son. Narada visits her and, after learning of Pradyumna's disappearance, goes to the Samavasarana of the Kevali Bhagwan in Videha region to find out his whereabouts. He learns that Pradyumna will return home after 16 years.

Pradyumna grows up in Kalasambhara's palace, excelling in education and warfare. He defeats King Simharatha, earning the position of Yuvaraj. His step-brothers, jealous of his favor, plot to kill him. They take him to Vijayagiri mountain under the guise of visiting temples. There, Pradyumna encounters and defeats various protectors and demons, gaining magical powers and gifts. He also marries a beautiful maiden named Ratika.

Later, upon returning to Kalasambhara, he reunites with his mother Kanchanmala, who tries to seduce him. Pradyumna, disgusted, seeks guidance from a muni. He cleverly obtains three Vidyas from Kanchanmala. Kanchanmala then falsely accuses Pradyumna before Kalasambhara, leading to a confrontation. Pradyumna defeats Kalasambhara's 500 sons and then Kalasambhara himself. Narada intervenes, revealing their true identities.

Pradyumna then travels with Narada to Dwarka. He encounters Bhanukumar, Satyabhama's son, who is to marry Duryodhana's daughter, Udhadhikumari. Pradyumna, disguised as an old Brahmin, intercepts Udhadhikumari and takes her to Dwarka. He then performs various feats in Dwarka, including misleading Satyabhama and Bhanukumar with his magical abilities. He finally reveals himself to Rukmini, his mother, who is overjoyed.

After a grand reception and a dispute with Satyabhama's maids, Pradyumna confronts Baladeva. He then challenges Krishna in a duel, revealing his identity. Narada reconciles them, and Pradyumna is celebrated and crowned. He later marries Udhadhikumari.

The story then shifts to Sambukumar, the soul of an Achyuta heaven dweller, who receives a divine garland from Sri Krishna, to be given to the queen who will bear his next son. Pradyumna, using his powers, deceives Satyabhama into giving the garland to Jambavati, resulting in the birth of Sambukumar. Satyabhama's son is Bhanukumar. The two cousins grow up together, but Sambukumar loses all his wealth to Bhanukumar in gambling. Later, Rukmini sends a messenger to Rupachand, her brother in Kundalpur, to arrange the marriage of Pradyumna and Sambukumar with her daughters. Rupachand refuses, showing disrespect. Pradyumna, disguised, defeats Rupachand and reconciles him with Krishna.

After enjoying worldly pleasures, Pradyumna hears about the destruction of Dwarka and the Yadavas from Lord Neminath's Samavasarana. He renounces the world and takes monastic vows, ultimately attaining Kevala Jnana and liberation.

Basis and Forms of the Story:

The narrative of Pradyumna's life is primarily based on the "Harivamsa Purana" by Jinācharya. A minor difference is noted: in "Harivamsa Purana," Rukmini invites Krishna, whereas in "Pradyumna Charit," Krishna goes at Narada's request. The "Uttarapurana" by Gunabhadra also briefly mentions the story but omits events like Narada's arrival and the conflict with Satyabhama. Similarities are found with Mahakavi Singh's Apabhramsha "Pajjukka Kahā" and Mahasena's Sanskrit "Pradyumna Charitra" (11th century). Even Jainettar literature, like Vishnu Purana, includes the story of Rukmini and Pradyumna, with some variations, particularly regarding Pradyumna's abduction and survival.

Poet's Introduction:

The poet, Sadharu or Sudharu, identifies himself as belonging to the Agarwal caste, born in Agroha, with mother Gunavati and father Saha Maharaj. He resides in Erachh, a city possibly in Uttar Pradesh. He describes the piety of the city's inhabitants, who follow the Dshalakshana Dharma. The poet states that reading this "Pradyumna Charit" leads to rebirth in heaven and eventual liberation. He apologizes for any errors in letters or मात्रा due to his limited intellect.

Composition Date:

The manuscripts indicate three possible dates: Samvat 1311, 1411, and 1511. The introduction provides detailed analysis of these dates, citing specific verses. Samvat 1411, specifically Bhadva Sudhi 5, Saturday, Swati Nakshatra, is considered the most accurate and supported by multiple scholars, including Dr. Mataprasad Gupta's calculation.

Pradyumna Charit in Contemporary Hindi Literature:

The introduction discusses the literary context of the 15th century (Samvat 1400-1424). It notes the scarcity of Hindi literature from this period, with only Namdev's scattered works and Sharngadhar (whose works are incomplete and influenced by Apabhramsha) being mentioned. The text suggests that Sadharu Kavi is unique in attempting such a narrative poem during this time. The poem connects Old Hindi and New Hindi poetry and is significant for its use of Chaupai and Vastu-bandh meters.

Place of Pradyumna Charit in Hindi Literature:

"Pradyumna Charit" is considered a unique and important work that bridges the gap between Old and New Hindi poetry. It is classified as a "Prabandha Kavya" (narrative poem) due to its structured plot, inclusion of various emotions, and detailed character portrayals. The poem is divided into 6 cantos, featuring love, separation, war descriptions, city descriptions, nature, and magical powers. The hero, Pradyumna, is described as 'Dhirodatta' (possessing courage, nobility, and calmness). The work also includes sub-plots that enhance its poetic quality and engage the reader. The narrative is filled with surprising events that evoke sympathy and joy in the reader.

The poem is a "happy ending" narrative, where the hero achieves worldly and spiritual bliss, ultimately attaining liberation. Jain authors typically aim for such happy endings to promote positive values. The absence of a distinct villain is noted, as Pradyumna's conflicts are often situational rather than based on innate antagonism.

Rasa, Alankara, and Chand (Meter):

The primary rasa (emotion) of "Pradyumna Charit" is Veer Rasa (heroism), evident in numerous battle descriptions. It also incorporates Adbhut Rasa (wonder) due to the portrayal of magical powers. Other rasas like Shringar (romance), Karuna (pathos), and Raudra (anger) are also present. The poem uses various alankaras (figures of speech) like Upama, Rupak, Utpreksha, etc., with notable use of unique Utpreksha. The meters used are Chaupai and Vastu-bandh.

Detailed Poetic Analysis:

The introduction and later sections provide extensive analysis of the poem's meter, language (Apabhramsha influences), structure, plot development, characterizations, and the use of rhetorical devices. It meticulously examines various manuscripts and their readings, offering insights into the evolution of the Hindi language. The narrative is broken down canto by canto, verse by verse, with detailed explanations of the story, character interactions, and poetic devices.

In summary, the "Pradyumna Charit" is a valuable literary and historical document that showcases the poetic prowess of Sadharu Kavi and the rich tradition of Jain literature in early Hindi. Its publication by Shri Mahavirji Kshetra is a testament to its significance in preserving and disseminating this important cultural heritage.