Pramukh Jainacharyo Ka Sanskrit Kavyashastro Me Yogadan

Here's a comprehensive summary of the Jain text "Pramukh Jainacharyo ka Sanskrit Kavyashastro me Yogadan" by Rashmi Pant, based on the provided pages:

Book Title: Pramukh Jainacharyo ka Sanskrit Kavyashastro me Yogadan (Contribution of Prominent Jain Acharyas to Sanskrit Poetics) Author: Rashmi Pant Publisher: Allahabad University Year: 1992

Core Argument: This Ph.D. thesis by Rashmi Pant argues that Jain scholars, or Acharyas, made significant and often overlooked contributions to the field of Sanskrit poetics (Kavyashastra). While their primary language was Prakrit, they adopted Sanskrit to express their philosophical and literary ideas, especially during periods when Sanskrit was the dominant language of scholarship and public discourse. The book aims to highlight these contributions by examining the works of key Jain Acharyas in poetics.

Key Themes and Structure:

The book is structured into seven chapters, systematically exploring the contributions of Jain Acharyas to various aspects of Sanskrit poetics:

• Chapter 1: Prominent Jain Acharyas in Sanskrit Poetics - Personality and Works:

  • Introduces six major Jain Acharyas who contributed to poetics: Acharya Vagbhatta I, Hemachandra, Ramachandra-Gunachandra, Narendraprabhasuri, Vagbhatta II, and Bhavadevasuri.
  • Provides a historical overview of their lives, including their teachers, lineage, and time periods.
  • Briefly mentions their other works and then focuses on their specific contributions to poetics.
  • Highlights that while Aryarakshit (1st Century CE) and the author of "Alankara Darpan" (11th Century CE) showed glimpses of poetic knowledge, the systematic tradition began with Vagbhatta I and continued unbroken from the 12th century onwards.

• Chapter 2: Poetic Nature, Cause, and Purpose:

  • Discusses the definition and classification of poetry (Kavya).
  • Analyzes the characteristics of Mahakavya (epic poetry) and its subject matter.
  • Explores other poetic genres like Akhyayika, Katha, Champu, and Muktaka (free verse).
  • Examines the concept of "Dhvani" (suggestion) in poetry, its types, the causes of poetry (Kavyahetu), and its purposes (Kavyaprayojan).

• Chapter 3: The Concept of Rasa (Aesthetic Experience) from the Perspective of Jain Acharyas:

  • Focuses on the theories of Rasa propounded by the six prominent Jain Acharyas.
  • Discusses the importance and nature of Rasa.
  • Critically examines Ramachandra-Gunachandra's unique theory that Rasa can be both pleasant and unpleasant (Sukha-Dukhatmak).
  • Analyzes various categories of Rasa, including their classifications.
  • Discusses Vibhava (stimulants), Anubhava (consequents), Vyabhichari Bhava (transitory emotions), Sattvika Bhava (involuntary emotional expressions), Sthayi Bhava (dominant emotions), Rasabhasa (perversion of Rasa), and Bhaabhasa (perversion of Bhava).
  • Notes the Anuyogadvara Sutra's mention of "Vridanak Rasa" instead of "Bhayanak Rasa" (fearful sentiment).

• Chapter 4: Analysis of Dosha (Flaws in Poetry):

  • Defines the concept of Dosha in poetry.
  • Classifies and analyzes various types of flaws: Padadosha (flaws in words), Padamshadosha (flaws in parts of words), Vakyadosha (flaws in sentences), Ubhayadosha (flaws in both words and sentences), Arthadosha (flaws in meaning), and Rasadosha (flaws related to sentiment).
  • Also touches upon the removal of these flaws (Dosha Parihar).

• Chapter 5: Analysis of Guna (Qualities in Poetry) and Jain Acharyas:

  • Explains the principles related to Guna.
  • Defines Gunas and discusses their various classifications as proposed by different Acharyas.
  • Highlights that Jain Acharyas often followed established traditions in their analysis of Gunas, though with specific interpretations.

• Chapter 6: Analysis of Alankara (Figures of Speech) and Jain Acharyas:

  • Discusses the general concept of Alankara.
  • Categorizes Alankaras based on the prominence of sound (Shabdalamkara) and meaning (Arthalamkara).
  • Analyzes the classification of Arthalamkaras based on their nature or origin.
  • Details the specific contributions of Jain Acharyas in defining and classifying various figures of speech, noting their adherence to and deviations from established Sanskrit poetics. For instance, Hemachandra's classification of 29 Arthalamkaras, which is fewer than Mammata's 61, and his inclusion of Vakraokti as a Shabdalankara.

• Chapter 7: Inclusion of Natya (Drama) Elements:

  • Examines dramatic elements found within the poetic works of Jain Acharyas.
  • Discusses the origin of drama, major dramatic texts, and the nature of the hero (Nayaka), his qualities, and types.
  • Covers the antagonist (Prati-nayaka), supporting characters (Vidushaka, etc.), the heroine (Nayika), her types, and the dramatic conventions (Vrittis).
  • Highlights Hemachandra's significant innovation of incorporating dramatic elements into his poetics treatise, "Kavyanushasana," a practice followed by later scholars like Visvanatha.

Key Jain Acharyas and their Contributions (as highlighted in the text):

1. Acharya Vagbhatta I:

   • Author of "Vagbhatalamkara."
   • Established the tradition of Jain Alamkarikas from the 11th century onwards.
   • His work discusses poetic elements like composition, purpose, causes, qualities, flaws, and figures of speech. He also includes elements of drama.
   • He followed the Indian tradition but introduced a new element by including "Riti" (style) as essential for poetry.

2. Acharya Hemachandra:

   • A towering personality with immense contributions to grammar, logic, and literature.
   • His primary work on poetics is "Kavyanushasana."
   • "Kavyanushasana" is a comprehensive treatise covering almost all aspects of poetics and drama.
   • He was the first to incorporate dramatic elements extensively into a poetics treatise, influencing later scholars.
   • He simplified Mammata's complex style and presented his theories with new interpretations, particularly in his classification of figures of speech and his analysis of Rasa.
   • His theory of Rasa being both pleasant and unpleasant, and his detailed analysis of different types of poetic flaws, are noteworthy.
   • He proposed a nuanced classification of "Dhvani" (suggestion) and emphasized the importance of Gunas (qualities) over Alankaras (figures of speech).

3. Ramachandra-Gunachandra:

   • Disciples of Hemachandra.
   • Authors of "Natyadarpan," a significant work on drama, considered a mirror for dramatic knowledge.
   • Introduced novel concepts like the "Sukha-Dukhatmak" nature of Rasa and proposed 12 types of Rupakas (dramatic forms), including the "Prakarani" as a new category.
   • Their work connects the tradition of Dhananjaya to Vishvanatha Kaviraja.

4. Acharya Narendraprabhasuri:

   • Author of "Alankaramahodadhi," an extensive treatise divided into eight "Tarangas" (chapters).
   • His work is influenced by Mammata's "Kavyaprakasha" but expands the number of Arthalamkaras to 70, demonstrating a broader scope.
   • He also composed "Kakusthakeli," a lost play.

5. Vagbhatta II:

   • Author of "Kavyanushasana," a work largely based on Hemachandra's treatise.
   • Known as "Abhinav Vagbhatta."

6. Bhavadevasuri:

   • Author of "Kavyalamkara Sar," a concise but significant work.
   • He synthesized essential elements from earlier works, following an ancient methodology.
   • His work is divided into eight chapters, covering various aspects of poetics.

Overall Significance:

The book underscores that Jain Acharyas were not solely focused on religious doctrine but were active participants in the broader intellectual and literary currents of their time. Their engagement with Sanskrit poetics demonstrates their intellectual prowess and their commitment to enriching Indian literary traditions. Rashmi Pant's thesis provides valuable research, bringing to light the often-underappreciated contributions of Jain scholars to a major field of Indian classical literature.