Raghuvansh Dwitiya Sarga Tika

Here's a comprehensive summary of the provided Jain text, "Raghuvansh Dwitiya Sarga Tika" by Dharmkirtivijay, based on the provided pages:

Overall Context:

This text is a commentary (Tika) on the second canto (Sarga) of the Raghuvamsha, a Sanskrit epic poem by Kalidasa. The commentary is authored by Dharmkirtivijay and published by ZZ_Anusandhan. The provided pages focus on detailed grammatical and lexical analysis of the Sanskrit verses, explaining the meaning and nuances of each word and phrase, with specific references to Jain philosophical and grammatical traditions, particularly the Siddh-Hem Shabd-Anushasan.

Summary of the Cantos/Verses Covered (based on page content):

The commentary meticulously breaks down each verse, analyzing the grammar, etymology, and philosophical implications. Here's a breakdown of the key themes and analyses presented:

• Verse 1 (Page 1-2):

  • Focus: The commentary begins by detailing King Dileep preparing to go to the forest and releasing a cow (Nandini) to pasture.
  • Analysis: It delves into the etymology of words like "Prabhate" (dawn), "Prajanam Adhipah" (king of subjects), "Yashodhanah" (one whose wealth is fame), "Jaya" (wife), "Gandhamalyam" (fragrant flowers and garlands), "Pitapratibaddhavatsam" (having a calf that has drunk its fill), and "Rishih Mumoch." It extensively explains the grammatical rules and derivations for these words, referencing Panini and Hemachandra's Siddh-Hem. The commentary also touches upon the meaning of "kulapati" (head of a family or institution) in a spiritual context.

• Verse 2 (Page 2-3):

  • Focus: Describes Nandini, the cow, and the virtuous queen Sudakshina's devotion.
  • Analysis: The commentary scrutinizes terms like "apansulanam" (virtuous women, contrasting with 'papsula' meaning loose women), "dhuri kirtaniya" (worthy of being praised in the forefront), "manushy-eshwar-dharmapatni" (queen, wife of the king), "khura-nyasa-pavitra-pansu" (dust purified by the hoof-prints of the cow), and "Smrti-anvagacchat" (memory followed). It highlights the concept of viryalaṅkāra (a type of poetic contradiction or irony) and discusses the philosophical significance of following the path dictated by dharma and scripture.

• Verse 3 (Page 5-6):

  • Focus: The king Dileep protects Nandini and the four oceans personified.
  • Analysis: The commentary explains "dayaluh" (compassionate), "dayita" (beloved), "Saurabheyi" (daughter of Surabhi, i.e., Nandini), "surabhi" (fragrant or pleasant), "yashobhih" (by fame/glory), "payodharibhuta-chatus-samudram" (having the four oceans as her breasts), and "jugopa gorupadhara-mim-urvim" (protected the earth in the form of a cow). It discusses the grammatical formation of compound words and the metaphorical representation of the four oceans.

• Verse 4 (Page 7-8):

  • Focus: Dileep's lone vigil and self-reliance for protection.
  • Analysis: The text breaks down "vrataya" (for the sake of the vow), "anucharana" (following), "shesho-pyanuyayivargah" (the rest of the retinue), "anyatah" (from another source), "sharira-raksha" (body's protection), "svavirya-gupta" (protected by one's own strength), and "Manoh-prasutih" (descendants of Manu). It emphasizes the king's self-reliance and the idea that one's own prowess is the ultimate protection.

• Verse 5 (Page 8-9):

  • Focus: Dileep's service to Nandini through various acts.
  • Analysis: The commentary analyzes "asvadavadbhih" (tasty), "kavalaih" (morsels of grass), "trinanam" (of grass), "kanduyanaih" (scratching), "dashanivaranaih" (warding off insects), "avyahataih" (unhindered), "svairgataih" (free movement), "samrat" (emperor), and "samaradhanam tatparo'bhavat" (became intent on worship). It highlights the king's attentive and devoted service to Nandini.

• Verse 6 (Page 9-10):

  • Focus: Dileep following Nandini in various postures.
  • Analysis: The commentary dissects "sthitam" (standing), "uchchalitah" (moving), "pratyata" (departed), "nishadusim" (sitting), "asanabandha-viraha" (steadfast in yoga posture), "jalabhilashi" (desiring water), "jalam adadanam" (taking water), "chhayeva" (like a shadow), and "anvagaacchat" (followed). It explains the grammatical nuances of participles and the simile of the king following Nandini like a shadow.

• Verse 7 (Page 10-11):

  • Focus: Dileep, stripped of royal insignia, radiating inner power like an elephant in rut.
  • Analysis: The text examines "nyasta-cihnam" (having laid aside marks of royalty), "rajalakshim" (royal fortune), "tejovisesha-numitam" (inferred by special radiance), "anavishkrutadaanarajih" (unrevealed rows of must/rut), "antah-madavasthah" (internally in a state of rut), and "dvipendra-iva" (like a lord of elephants). It explores the metaphor of the king's inner power resembling that of a majestic elephant.

• Verse 8 (Page 11-12):

  • Focus: Dileep, with his hair tied by vines, ready to protect the cow.
  • Analysis: The commentary analyzes "latapratanodgrathitaih" (bound by creeper tendrils), "sakeshair" (with hair), "adhijyadhanva" (with bow strung), "vicerara davam" (wandered in the forest fire), "rakshapadeshat" (under the guise of protection), "muni-homadhenoh" (of the sage's sacrificial cow), and "vanyandustva-satvan" (wild fierce animals). It interprets the king's preparation as a righteous act to protect the sacred cow from dangers.

• Verse 9 (Page 13-14):

  • Focus: The trees and birds in the forest seem to welcome Dileep.
  • Analysis: The text breaks down "visrushta-parshva-nucharasya" (whose attendants had dispersed), "parshva-drumah" (trees on the side), "pashabhruta-samasyam" (equal to Varuna, the god of water), "udirarayamasu-va" (as if they proclaimed), "unmadanam" (intoxicated), "vayasam viravaih" (by the cries of birds), "aloka-shabdam" (the sound of greeting/cheer). It discusses the poetic device of utpreksha (simile) and the personification of nature welcoming the king.

• Verse 10 (Page 14-15):

  • Focus: Vines adorned with flowers, like offerings from city maidens, showered the king.
  • Analysis: The commentary analyzes "marut-prayuktah" (driven by the wind), "marutsakhābham" (like a friend of the wind), "tam-aram abhivartamanam" (approaching him from nearby), "balalatah" (young vines), "prasunaih" (with flowers), "acharalaja-iva" (like ceremonial fried grains), and "paurakanyah" (city maidens). It highlights the poetic comparison between the flowers offered by vines and the ceremonial offerings of city women.

• Verse 11 (Page 16-17):

  • Focus: Deer, unafraid, gazing at Dileep's compassionate form.
  • Analysis: The text breaks down "dhanu-bhrutoh" (of the bow-bearer), "dayabhāvam" (nature of compassion), "aakhyatam" (revealed), "antah-karanaih" (by the hearts/minds), "visankah" (without fear), "vilokayantyo" (seeing), "vapuh" (form), "apuh akshanam" (reached their eyes), "prakama-vistara-phalam" (the fruit of great expansion). It emphasizes the deer's fearless observation and the king's evident compassion.

• Verse 12 (Page 17-18):

  • Focus: Dileep hears his fame sung by forest deities with musical instruments.
  • Analysis: The commentary analyzes "kichakair" (by bamboo pipes), "maruta-purnarandhraih" (with holes filled with wind), "kujadbhih" (making sweet sounds), "apadi-tavamshakrityam" (accomplishing the task of the bamboo flute), "kunjeshu" (in groves), "vanadevataabhih" (by forest deities), "uchcair-udgiyamanam" (sung loudly), "svam yashah" (his fame), and "shushrava" (heard). It discusses the sound of flutes and the praise sung by nature spirits.

• Verse 13 (Page 18-19):

  • Focus: The wind, carrying the fragrance of flowers and mist, served the king.
  • Analysis: The text scrutinizes "prikta-tusharaaih" (mixed with mist/dew), "girinirjharanam" (of mountain streams), "anokaha-kampita-pushpa-gandhi" (fragrance of slightly trembling flowers), "atapa-klantam" (tired by the sun), "anatapatram" (without an umbrella), "acharapuritam" (purified by conduct), and "pavana-sisheve" (wind served). It highlights the king's adherence to dharma and the service of nature.

• Verse 14 (Page 20-21):

  • Focus: The forest flourished without rain, and the king's presence pacified wild animals.
  • Analysis: The commentary analyzes "shashama" (became calm), "vrishtya-api vina" (even without rain), "davagni" (forest fire), "vishesha" (exceptionally), "phalapushpa-vriddhih" (growth of fruits and flowers), "unam na sattveshu" (not the weak among creatures), "adhiko babadhe" (the stronger did not oppress), "tasmin vanam goptrit" (as he was the protector of the forest), and "gahamane" (as he entered). It emphasizes the extraordinary effect of the king's presence on the natural world.

• Verse 15 (Page 21-22):

  • Focus: As day ended, the king and the cow, bathed in the sun's glow, moved towards their resting places.
  • Analysis: The text dissects "sanchara-puritani" (purified by movement), "digantarani" (directions), "dinante" (at the end of the day), "nilayaya" (to the dwelling), "prachakrame" (began), "pallava-raga-tamra" (red like the color of new leaves), "prabha" (radiance), "patangasya" (of the sun), "muneshcha" (and the sage's), and "dhenuh" (cow). It discusses the beautiful imagery of the setting sun and the return journey.

• Verse 16 (Page 22-23):

  • Focus: The cow was accompanied by the king, like faith following divine rites.
  • Analysis: The commentary analyzes "devata-pitr-atithi-kriyartham" (for the rites of gods, ancestors, and guests), "anvayayau" (followed), "madhyama-lokapalah" (king of the middle realm, i.e., the human realm), "babhaav sa tena" (she shone with him), "satam matena" (according to the opinion of the wise/virtuous), "shraddhe-va sakshad-vidhina-upapanna" (like faith itself, properly adorned with rites). It draws a parallel between the cow's accompaniment by the king and faith being accompanied by proper ritual.

• Verse 17 (Page 24-25):

  • Focus: The king observes the forest, noticing wild boars, peacocks, and deer.
  • Analysis: The text breaks down "sa palvalottirna-varaha-yuthani" (he saw herds of boars emerging from ponds), "avasa-vrikshonnukha-bahinani" (peacocks facing the trees of their dwelling), "mrigadhyasita-shadvallani" (grasslands inhabited by deer), "shyama-yamani" (becoming dark/shady), and "vanani" (forests). It describes the king's observation of the forest's inhabitants and its changing appearance.

• Verse 18 (Page 26-27):

  • Focus: The king and Nandini, burdened by their respective loads, moved slowly towards their abode.
  • Analysis: The commentary analyzes "apina-bharodvahan-prayatnat" (from the effort of carrying the heavy udder), "grishthi-gurutvat" (due to the heaviness of a cow that has calved once), "vapusho" (of the body), "narendrah" (king), "ubhaav-alanchakratuh" (both adorned/decorated), "anchitabyam" (with bent/respectful gait), "tapovana-vrittipatham" (the path back to the hermitage), and "gatabhyam" (having gone). It highlights the slow, deliberate movement of both the king and the cow.

• Verse 19 (Page 27-28):

  • Focus: Sudakshina, longing for her calf, gazed intently at Dileep, like someone fasting gazing at water.
  • Analysis: The text breaks down "Vasistha-dhenoh" (of Vashistha's cow), "anuyayinam" (following), "tam-avartamanam" (returning), "vanita" (woman), "banantata" (from the end of the forest), "papau nimesha-alasapakshma-pankti" (drank with eyes that blinked slowly), "uposhtitabyam-iva" (as if from fasting), and "lochana-bhyam" (with eyes). It uses a powerful simile to describe Sudakshina's intense gaze and longing.

• Verse 20 (Page 28-29):

  • Focus: The cow, escorted by the king and queen, shone like twilight between day and night.
  • Analysis: The commentary analyzes "Puraskrita vartmani" (escorted on the path), "parthivena" (by the king), "pratyudgata" (having come to meet), "parthiva-dharmapatnya" (by the king's queen), "tadaantarē sa" (in their midst, she), "virraja" (shone), "dinakshapa-madhyagateva" (like being in the middle of day and night), and "sandhya" (twilight). It uses the metaphor of twilight to beautifully portray the cow's presence between the king and queen.

• Verse 21 (Page 33-34):

  • Focus: Sudakshina offered respect and worship to Nandini.
  • Analysis: The text breaks down "pradakshini-krutya" (having circumambulated), "payasvini" (milky, i.e., Nandini), "tām" (her), "Sudakshina" (the queen's name), "sakshata-patra-hastah" (with a plate of unbroken rice in hand), "pranamya" (having bowed), "anarchana" (worshipped), "vishalam asyah" (her broad), "shringantaram" (between the horns), "dvaramiva" (like a door), and "arthasiddhih" (of the attainment of purpose). It highlights the queen's respectful and devotional offering.

• Verse 22 (Page 36-38):

  • Focus: Both Dileep and Sudakshina were pleased with Nandini's acceptance of worship, as devotion brings auspicious results.
  • Analysis: The commentary analyzes "vatsotsuka-api" (though eager for her calf), "stimita" (still/unmoving), "saparyam" (worship), "pratyagrahit" (accepted), "etih nanandatuḥ tau" (they rejoiced because), "bhakty-upapannheshu" (in those endowed with devotion), "prasada-chihnani" (signs of favor), "purah phalani" (results in the future). It elaborates on the concept of devotion and its rewards, referencing Jain teachings on bhakti (devotion).

• Verse 23 (Page 48-52):

  • Focus: Dileep, after attending to his guru and performing evening rites, returned to Nandini.
  • Analysis: The text delves into the meaning of "guroh" (of the guru), "sadarasya" (with respect), "nipidya" (having massaged), "padau" (feet), "samapya" (having completed), "sandhyam cha vidhim" (and the evening ritual), "doshavasane" (at the end of milking), "punareva" (again), "droghrim" (the milker), "bhujochhinnaripuh" (whose enemies were destroyed by his arms), and "nishannam" (seated). It provides extensive analysis of "guru" in both Brahmanical and Jain traditions, discussing the king's duties and return to the cow.

• Verse 24 (Page 54-56):

  • Focus: The king and queen stayed with Nandini, and she was then watched over by the king.
  • Analysis: The commentary analyzes "tam antika-nyasta-bali-pradiipam" (her, having placed nearby offerings and lamps), "anvasya" (having stayed near), "gopta" (protector), "grihini-sahayah" (with his wife as companion), "krameṇa suptam" (asleep in order), "anusamviveśa" (slept next to her), "suptotthitam" (having woken from sleep), "pratar-anudatiṣṭhat" (rose in the morning). It describes the peaceful scene of the royal couple and Nandini resting.

• Verse 25 (Page 56-57):

  • Focus: Twenty-one days passed as Dileep fulfilled his vow for the sake of progeny.
  • Analysis: The text breaks down "ittham vratam dharayatah" (thus observing the vow), "prajārtham" (for the sake of progeny), "samam mahiṣyā" (along with the queen), "mahanīyakirteh" (of glorious fame), "sapta vyatīyuh triguṇāni" (seven multiplied by three passed), "tasya dināni" (his days), and "dinoddharaṇochitasya" (one who is fit to uplift the distressed). It quantifies the duration of Dileep's penance.

• Verse 26 (Page 60-66):

  • Focus: Nandini, wanting to know the king's feelings, entered a cave.
  • Analysis: The commentary analyzes "anyedyuḥ" (on another day), "ātmānucharasya bhāvam" (the state of his follower), "jijñāsamānā" (wishing to know), "muni-homadhenuh" (the sage's sacrificial cow), "gangā-prapātānta-viruḍha-shashyam" (grass grown at the end of the Ganges' waterfall), "gauriguror" (of the guru of Gauri, i.e., Shiva or Himalaya), and "gahvaram āviveśa" (entered the cave). It explains Nandini's curiosity about the king's intentions and her move into a cave. The commentary then goes into extensive detail about the etymology and meanings of "Muni," "Homa," "Dhenu," "Ganga," "Guhā," and "Gauri Guru," referencing various religious and philosophical texts.

• Verse 27 (Page 67-69):

  • Focus: A lion, considered invincible even by the mind, attacked Nandini, unseen by the king who was looking at the mountain's beauty.
  • Analysis: The text dissects "sa duṣhpradharsā" (she, difficult to be overcome), "manasā api hinsraih" (even by the mind by cruel beings), "adrisobhā-prahite-kṣaṇena" (with eyes focused on the mountain's beauty), "alakshita-abhyutpatano" (unseen, leaping forth), "nṛpeṇa" (by the king), "prasahya simhaḥ" (a lion by force), "kil tāṃ" (indeed her), and "chakarsah" (carried away). It highlights the lion's attack and the king's momentary distraction by the mountain's beauty. The commentary provides detailed etymological analysis of many words here, including "hiṃstraiḥ," "manasā," "adrisobhā," "alakṣita," and "simhaḥ."

• Verse 28 (Page 70-73):

  • Focus: The king's attention was drawn back by the sound of the lion's attack on Nandini, which echoed in the cave.
  • Analysis: The commentary analyzes "tadiyam ākranditam" (her cry), "mārta-sādhoguhā-nibaddham" (echoing in the cave of the distressed), "pratiśabda-dīrgham" (long with the echo), "raśmiṣh-iv-ādāya" (as if taking hold of the reins), "nagendrasaktām" (focused on the lord of mountains), and "nivartayāmāsa nṛpasya dṛṣṭim" (turned back the king's gaze). It describes how the loud cries pulled the king's attention back from the mountain.

• Verse 29 (Page 73-84):

  • Focus: The king, a mighty archer, saw a lion on a reddish mountain plateau, like a blooming Lodhra tree on a mountain.
  • Analysis: The text breaks down "dhanaurdharah" (archer), "sāpātalāyām" (in the reddish/pale red cow), "tasthivāmsam" (standing), "dhanurdharaḥ" (archer), "kesariṇam" (lion), "dadarsḥa" (saw), "adhit'tcakāyām-iva" (like on a plateau), "dhātu-mayyām" (made of minerals/metals), "lodhra-drumam" (Lodhra tree), "sānumataḥ" (of the mountain), and "praphullam" (blooming). It uses a beautiful simile comparing the lion's appearance to a blooming Lodhra tree, and provides extensive analysis of "dhanurdharaḥ," "Pātalā," "gavi," "tasthivāmsam," "kesariṇam," "adhit'tcakāyām," "dhātu-mayyām," "sānumataḥ," "lodhra-drumam," and "praphullam."

• Verse 30 (Page 84-87):

  • Focus: The king, now alert, prepared to fight the lion to save the cow.
  • Analysis: The commentary analyzes "tato" (then), "mṛgendrasya" (of the lion), "mṛgendragāmī" (following the lion), "vadhāya" (for killing), "vadhya" (the one to be killed), "śaraṃ śaraṇyaḥ" (arrow, the refuge), "jatābhiṣaṅgaḥ" (having become affected/driven), "nṛpatih" (king), "niṣaṅgāt" (from the quiver), "uddhartum-aichchat" (wished to draw forth), and "prasabhodhdhutārih" (one who has forcibly removed enemies). It describes the king's readiness to fight the lion.

Key Aspects of the Commentary:

• Linguistic and Grammatical Rigor: The commentary is exceptionally detailed in its analysis of Sanskrit grammar (referencing Panini and Hemachandra) and the etymology of words. It meticulously breaks down compound words and derives meanings from root words and suffixes.
• Philosophical and Religious Context: While commenting on a classical epic, the Tika frequently incorporates Jain philosophical concepts, ethical principles, and religious practices. This is evident in discussions about devotion (bhakti), vows (vrata), righteousness (dharma), compassion (daya), and the importance of virtuous conduct (achar).
• Comparative Religious Analysis: The commentary includes comparisons with other religious traditions (Brahmanical, Buddhist, Islamic, Christian) regarding concepts like ahimsa (non-violence), vegetarianism, and the nature of divinity. This showcases Dharmkirtivijay's broad knowledge and the Jain perspective on these matters.
• Detailed Exploration of Terms: Almost every significant word in the verse is subjected to a thorough exploration, including its synonyms, grammatical forms, and philosophical implications.
• Emphasis on Jain Principles: The commentary consistently highlights Jain principles, such as the importance of right faith (samyak-darshan), right knowledge (samyak-jnana), and right conduct (samyak-charitra) as the path to liberation. The discussion on bhakti in verse 22, for example, extensively details the Jain understanding of devotion.

In essence, this commentary is a scholarly work that goes beyond a simple literal explanation of the Raghuvamsha, embedding the epic's narrative within a rich tapestry of Jain philosophy, grammar, and comparative religious thought. It serves as an educational tool for understanding both classical literature and Jain teachings.