Ratnakar Ki Hanskala - Book Summary

Here is a comprehensive summary of the Jain text "Ratnakar ki Hanskala" by G. Bramhappa, based on the provided pages:

The article "Ratnakar ki Hanskala" by G. Bramhappa discusses the profound philosophical and artistic insights of the 16th-century Kannada poet Ratnakar, particularly focusing on his magnum opus, "Bharatesh Vaibhava."

G. Bramhappa's Introduction to Ratnakar:

Bramhappa introduces Ratnakar as a leading Kannada poet whose work "Bharatesh Vaibhava" is a priceless gem in Kannada literature, translated into many Indian languages.
Ratnakar's life was as remarkable as his literary creations. He possessed exceptional talent from a young age, was honored in Bhairavraj's court, and became known as a "Shringara Kavi" (poet of romantic love). However, his revolutionary ideas were initially unacceptable to the Jain society of his time, leading him to become an Ajain Veerashiva. Eventually, society recognized the value of his thoughts and reinstated him as a leader.
Beyond being a great poet, Ratnakar was also a great yogi. Besides "Bharatesh Vaibhava," he authored "Ratnakarshatak," "Aparajiteshwarshatak," "Trilokshatak," and numerous other lyrical poems.
"Bharatesh Vaibhava" showcases not only his literary brilliance but also his masterful art of weaving philosophical truths into a literary form. Bramhappa aims to detail the philosophical aspect of "Bharatesh Vaibhava," particularly the concept of "Hamsakala," and how it reveals Ratnakar's poetic artistry.

What is Hamsakala?

For Ratnakar, Bhed-vigyan (discrimination between the self and the non-self) is the foundation, and Hamsakala is its ultimate culmination.
If "Bharatesh Vaibhava" has worldly pleasures as its outer shell, its inner core is yoga. Just as a warm spring in a cool ocean is a natural marvel, the presence of "Hamsayoga" amidst the many descriptions of pleasure in "Bharatesh Vaibhava" is a noteworthy wonder.
Bramhappa states that while Bhed-vigyan is Ratnakar's respiratory system, Hamsakala is its alimentary canal. When a dedicated seeker tires from spiritual practice, they turn to poetry to refresh themselves, engaging with the muse. However, whether in practice or poetry, Ratnakar's ultimate objective is Hamsakala.
In Ratnakar's view, meter, figures of speech, and ultimately rasa (flavor) are the external body of poetry. Its internal body is the Atmatattva (the essence of the soul). "Hamsa" itself signifies the self-nature. Therefore, Hamsakala is the art of self-inquiry.
To realize one's true nature is Hamsakala. This can be called meditation, penance, or yoga – these terms are synonymous. The consciousness engaged in self-inquiry is called a meditator, ascetic, or yogi.
A practitioner of Hamsakala must first control the chitta-vritti (fluctuations of the mind). The mind, by repeatedly indulging in attachment and aversion, invites Karmasura (the demon of karma) into the house. Mind, speech, and body are the open gateways for Karmasura. By securing these three gateways for Hamsakala, Karmasura can be confined and stopped.
The accumulated karma from the past can be shed through chanting. When all karma is gone, our "Hamsa empire" becomes invincible, leading to natural bliss.

Hamsakala and Bharatesh Vaibhava:

Ratnakar has applied "Hamsakala" to the entire life story of Bharatesh. Bharatesh is not an external self (Bahiratma) but an inner self (Antaratma) filled with bliss.
Ratnakar is presented as a universal poet capable of depicting all arts as if they were dancing before the eyes. He displays jeweller-like skill by artistically describing the inner art of the soul, which often remains like a dream seen by a mute person.
By adorning the soul's nature with the rays of imagination through his insightful mind, the poet becomes a pinnacle (shirobhushan) of Hamsakala worship. This is considered "Bhavalingi" (identified by mental disposition), with mental refinement being paramount. It represents the mental transformation necessary for contemplation. Without it, there is not just emptiness, but wilderness.
Ratnakar has described the formless soul in poetic terms, bestowing upon it knowledge, light, and ego. Initially, it's a mere sketch, which then evolves into a colorful painting. For the formless soul, these expressions are like an ocean. Knowledge and light are like the front and back faces of self-knowledge; one cannot exist without the other. Few, like Ratnakar, have depicted the diverse stages of Hamsakala practitioners.
Spirituality is often described as ineffable. However, Ratnakar is experienced, talented, and also a pleasure-seeker of imagination. He can clothe ineffable experiences in poetic armor and color them with pure art. A practitioner of Hamsakala must also initially be thrilled by imaginative indulgence to gain enthusiasm. Imagination consolidates into rasa. To become a yogi, one must first become a "rasayogi" (yogini of essence), developing the imaginative aspect and expanding the realm of talent. This is why, after enjoying pleasures with Kusumaji, Bharatesh invites the feminine aspect of liberation (Kavalyangana) to embrace him for spiritual rest.
Bharatesh is still a seeker, eager to achieve self-realization through his talent. He sculpts his inner self by nurturing it with his imaginative hand. He is preparing to fly into the realm of Brahman after delighting in the world of rasa. Bharatesh also inspires his consorts towards Hamsakala worship.
Sensual desires should be washed away by the bliss of rasa. Even Brahmananda (bliss of Brahman) needs to adopt the guise of "rasananda" to become engaging for the seeker. The seeker should ascend from the plane of worldly experience to the plane of rasa. Then, like the mother's heart of Brahmananda, it should slightly bend, support the seeker, and pull them upwards. When Bharatesh began Hamsakala worship with non-dual devotion, considering his own soul as the Supreme Soul, his joy knew no bounds.
The self-nature shines with happiness, becoming light, true knowledge, and vision. Just as a child is excited by falling and rising while crawling, a seeker will also be excited and amazed in this process. The poet has depicted this "hide-and-seek" of Hamsakala worship in his poetry. This is the first step of Hamsakala worship.
When the seeker becomes stable in non-dual devotion, adorning themselves as one with the non-dual, the dazzling rainbow of Brahmananda becomes visible. Ratnakar has captured the ineffable nature of Brahmananda by spreading a net of art. The essence of rasa must surely touch the dust on the chest of Brahmananda. The great poet has colored emptiness. While describing the spiritual courage of a devotee, Saint Basavanna also said: "The formless soul must first be made formful. This requires talent and imaginative indulgence. This poetic endeavor must continue until one is intimately acquainted with the soul." This is the first stage of Hamsakala worship. The seeker should be immersed in "rasananda." They must draw pictures openly. It is not that everything ends by giving form to emptiness; the given form must be rendered back into emptiness. The practitioner of Hamsakala must become proficient in both these arts.
As self-realization progresses, particles of karma will fall away. The veil of karma will loosen due to unexpected attacks. Just as smoke drives away bees from a hive, Karmic particles will become helpless and flustered.
Observe the endless dance of emptiness within the practitioner of Hamsakala. Giving form to emptiness and then returning the given form to emptiness are the two faces of Hamsakala. The poet must convey the experience of nirvikalpa samadhi (thoughtless absorption) to those who have not even experienced savikalpa samadhi (absorption with thought). Through the dazzling style of wordplay, Ratnakar presents various moods of Hamsakala. What is the Brahmananda reached at the peak of nirvikalpa samadhi? The poet depicts this. When we hear of "a great moneylender without wealth," we are thrilled. The universal poet has described the unconditioned happiness of divine experience in a way that resonates with the hearts of the sensitive, through his imaginative indulgence. The one who is a "rasarshi" (sage of essence) will crush worldly pleasures underfoot and, extending their other hand, try to gather Brahmananda. Ratnakar has adorned the meditating Bharatesh with moonlight from head to toe. He has brought joy to the Chakra (king) in the embrace of the celestial damsel (muktyangana), bestowing the rays of poetic art upon Hamsakala. The poet has depicted poetry as if it were a veranda of Brahma-kala (the art of Brahman).

Various Stages of Hamsakala:

When the primordial Jinendra (a spiritual ideal) renounced his state of existence and prepared for liberation, he began his final penance, shedding the three karma bodies to become the Supreme Soul. Is the Hamsakala of the Supreme Being, the ultimate light, the moon and sun of millions, and the source of true knowledge, ordinary? The great poet will create a waterfall of light yoga here. To destroy his karma-embodied world and make it rootless, the poet Ratnakar had to appear for the exquisite dance of spiritual "tandava."
The Supreme Being will pervade the universe in a tall form, stretching from bottom to top. This is the first stage seen as the worldly and energetic bodies become all-pervasive. This is called the "Danda" stage.
The next stage is "Kavatalila" (play of the door panel). The Lord is pleased, as if the wall between the entire universe has been removed. His form is immeasurable. He churned the Karmic and Taijasa bodies, pulling them sideways. After the Kavatalila, the third stage, "Prataralila" (play of spreading), begins. Pratar means the Lord's pervasion throughout the universe, leaving behind the air.
After this comes the fourth stage, "Pooranleela" (stage of filling). The meditating Jinendra becomes all-pervasive. Incorporating even the air, he merges the entire universe within himself. The "Samudghatocchalatkala" (stage of effulgent art) is the universal form, adorning itself by residing in all and containing all within itself. The universal poet has vividly depicted the spiritual chemical reactions that occur at this moment.

The Ultimate Goal of Hamsakala:

The ultimate goal of Hamsakala is to become the supreme light, a joyous radiant ray, and unconditioned happiness. This Hamsakala, which turns mere terminological phrases into a vast forest in the hands of others, has become an art in the hands of Kaviratnakar.
While others make Brahma-kala a field for displaying scholarship, Ratnakar has taken this dry subject of Brahma-kala and developed a radiant cluster of his juicy talent, cultivated a wish-fulfilling tree of imagination, and opened a Manasa Sarovar (mind-lake) of essence. He has painted the rainbow hues of his art within it.
Dharma-dhyana (nirvikalpa samadhi) has become a river of light in Ratnakar's hands, through which the water of poetic rasa flows. Repeatedly bringing forth doctrines, Ratnakar never sidelined poetry. The Danda, Kavata, Pratar, and Pooran meditations of Jinendra before attaining liberation have become powerful art in Ratnakar's hands, adorning the dance of emptiness. If the description of Dharma-dhyana here is "lasya" (graceful dance), then in Samudghatocchalatkala, the poet has created vast scenes, like spreading hands to the horizon in a towering manner, depicting the wonderful play of Brahma-leela.
Poet Ratnakar has internalized the secret of Chidambaram. He is an unblemished poet who specifically directs the place of doctrine in the garden of poetry. He is the sole poet who vividly portrays the meditative state of a yogi.
"Rasikata" (aesthetic appreciation/enjoyment) is Ratnakar's life. If the worldly enjoyment in his "Bharatesh Vaibhava" is "bhoga-raga rasikata," then the yoga here is "vitraga rasikata" (dispassionate enjoyment). Ratnakar is a great yogi among great poets. He experienced Hamsakala by becoming a yogi. He has poetically depicted this experience as delicious poetry.