Rayansehari Kaha Evam Jayasi Ka Padmavata - Book Summary

This document, titled "Rayansehari Kaha evam Jayasi ka Padmavata" by Sudha Khavya, explores the significant parallels between the Jain text Rayansehari Kaha (attributed to JinharsGani) and the famous Hindi epic Padmavata by Malik Muhammad Jayasi. The author argues that Padmavata is heavily influenced by, and likely based on, the earlier Rayansehari Kaha.

Here's a comprehensive summary of the key points discussed in the text:

1. Significance of Rayansehari Kaha:

The Rayansehari Kaha holds an important place in Prakrit narrative literature, being a significant work in terms of language and literature.
Its Prakrit language is described as very simple.
The text beautifully describes the fruits of observing fasts and rituals on festival dates.
Primarily, it is a love story depicting the poignant portrayal of love. The hero, Ratnashekhar, is captivated by the described beauty of the heroine, Ratnavati, and obtains her after enduring many difficulties.
This beautiful love story has been adopted not only in Prakrit but also in other languages like Sanskrit, Gujarati, Apabhramsha, and Hindi.

2. Influence of Rayansehari Kaha on Padmavata:

Many scholars believe that Padmavata is a significantly influenced work and consider the Ratnashekhar story to be a precursor to Padmavata. Prominent scholars supporting this view include Dr. Ramsingh Tomar, Dr. Shambhunarathi Sah, Dr. Gulabchand Chaudhary, Dr. Hiralal Jain, and Dr. Nemichand Shastri.
This suggests a deep connection between the two works.

3. Comparison of Narrative Elements (Katha Vastu):

Underlying Theme: Both narratives are based on a widely popular plot: the hero becomes enamored upon hearing of the heroine's beauty and obtains her after overcoming numerous obstacles.
Specific Similarities:
- Hearing of Beauty: Ratnashekhar is captivated by Ratnavati's beauty upon hearing it from a Kinnara couple. Similarly, Ratnasen in Padmavata is love-struck after hearing of Padmavati's beauty from a parrot.
- Heroine from Simhaladvipa: Ratnavati, the heroine of Rayansehari Kaha, is the daughter of King Jaysingh of Jaypur in Simhaladvipa. Padmavati, the heroine of Padmavata, is also the daughter of King Gandharvasen of Simhaladvipa.
- Hero Unfamiliar with Simhaladvipa: Both heroes are initially unaware of Simhaladvipa. Ratnashekhar and his minister Ratnadeva reach there with the help of a Yaksha and stay at the Kamadeva temple. Ratnasen, guided by a parrot, crosses the sea and reaches Simhaladvipa, staying at a Shiva mandap.
- Disguise as a Yogi for Heroine's Acquisition: Ratnashekhar's minister, after marrying a previous-life daughter named Lakshmi and gaining Yaksha's assistance, disguises himself as a yogini to find the heroine. Ratnasen, guided by the parrot, himself takes the guise of a yogi to pursue the heroine.
- Hero's Beauty Described by Companions: Ratnavati's female companion sees Ratnashekhar and tells Ratnavati that a king, resembling Kamadeva, is seated in the temple, making her eager to meet him. Padmavati's companions inform her about a yogi guru of thirty-two auspicious qualities, prompting her to go and see him.
- Meeting Place: Ratnavati and Ratnashekhar meet in the Kamadeva temple. Ratnasen and Padmavati meet in the Shiva mandap.
- Entering Fire in Separation: Ratnashekhar, upon the expiry of a seven-month period given by his minister, contemplates entering fire due to separation from the heroine. Ratnasen, upon regaining consciousness and not seeing the heroine, also wishes to immolate himself.
- Welcome Upon Return: Ratnashekhar and Ratnavati are grandly welcomed upon their arrival in Ratnapur. Ratnasen and Padmavati receive a grand welcome upon reaching Chittor.
- Hero's Valor: Both Ratnashekhar and Ratnasen are skilled warriors. Ratnasen conquers King Devpal of Kumbhalner, and Ratnashekhar defeats the King of Kalinga.
- Name Similarity: The heroes' names are similar: Ratnashekhar in Rayansehari Kaha and Ratnasen in Padmavata. Both mention a maiden named Lakshmi. In Rayansehari Kaha, Lakshmi is the minister Matisagar's wife and a Yaksha's daughter. In Padmavata, Lakshmi, the sea's daughter, is mentioned.

4. Comparison of Authors' Personalities:

Time: There is not a significant time gap between JinharsGani and Jayasi. JinharsGani composed Rayansehari Kaha in 1455 AD (1512 VS), while Jayasi wrote Padmavata in 1540 AD. (JinharsGani's work is dated based on other works, while Jayasi mentions the date in his poetry).
Place: JinharsGani states he composed his work in Chittor, Rajasthan. Jayasi composed Padmavata in Jayasnagar (identified as Jaise in Raebareli).
Description Style: Both authors used flowing styles to describe cities, beauty, city entrances, making their works engaging.
Religion: JinharsGani was a Jain monk following the Panchamahavratas, while Jayasi was a Sufi fakir detached from the world. Both emphasize detachment and devotion. JinharsGani describes festival dates and their fruits in Jainism, while Jayasi describes the Sufi path of love.
Guru Reverence: Both poets show great reverence for their gurus, reflecting the importance of gurus in the 15th and 16th centuries. They consider their gurus essential for their creative abilities.
Prayer to God: Both poets exhibit deep faith and devotion to God. JinharsGani begins his work by paying homage to Lord Mahavir and making him narrate the story. Jayasi also acknowledges God as the doer of all actions and begins his work by remembering the one God.

5. Narrative Tropes (Kathanak Rudhiyan): Both works utilize common literary conventions to enhance their narratives:

Heroine from Simhaladvipa: The belief in a supremely beautiful maiden residing in Simhaladvipa, across the ocean, is present in both.
Love through Hearing Beauty: The trope of falling in love upon hearing of beauty is common.
Yogi Disguise for Acquisition: The use of yogi guise to attain the heroine is seen in both.
Meeting in a Temple: Both heroes and heroines meet in temples (Kamadeva temple and Shiva mandap).
Entering Fire in Separation: The act of contemplating self-immolation due to separation is depicted.
Testing of Steadfastness by Deities: Both heroes' determination is tested by divine beings.
Bride's Education: In both, upon departure, the bride receives advice from family or companions on how to behave.
Omens: The practice of interpreting omens is used in both narratives.
Mention of Parrot: While a parrot is a character in Rayansehari Kaha, it plays a more central role from the beginning in Padmavata, facilitating the union of the protagonists.

6. Poetic Descriptions: Both authors excel in descriptive poetry:

Beauty Descriptions: Both vividly describe the beauty of the protagonists, often comparing them to celestial beings or natural phenomena.
City Descriptions: Both provide engaging descriptions of cities like Ratnapur and Simhalgarh.
City Entrance Descriptions: Both detail the grand welcomes and processions upon the protagonists' entry into cities.

7. Poetic Imagery (Vimba): Both poets use imagery to convey abstract emotions:

Ocean: Used to depict depth and immensity (Ratnashekhar's seriousness, love's boundlessness).
Lotus: Used for beauty (hero's face, heroine's beauty).
Plantain Stem: Used to describe the lack of substance in comparison to the heroine's beauty.
Sun: Used for brilliance and power.
Moon: Used for facial beauty.
Cloud Roar (Meghgarjan): Used to depict loud sounds of instruments or intense anger.
Arrow: Used to describe sharp glances or piercing looks.
Swan: Used to depict graceful movement.
Other images include Kalpavriksha, Indra, Chakori, Airavata elephant, etc.

8. Social Environment: The narratives offer glimpses into the social conditions of the time:

Love Marriage: Love marriages were accepted by society.
Sati Practice: The practice of a wife immolating herself with her deceased husband is depicted in an embedded story and in Padmavata.
Idol Worship: Despite being a Jain monk, JinharsGani describes idol worship in detail. Jayasi, a Sufi, also depicts the heroine worshipping Shiva.
Dowry System: The dowry system was prevalent, with kings granting gifts during weddings.

9. Geographical Details:

Ratnapur: The hero of Rayansehari Kaha is the king of Ratnapur. Jayasi mentions Ratnapur as a city on the route from Milod to Simhaladvipa.
Chittor: JinharsGani composed his work in Chittor, and the hero of Padmavata is the king of Chittor. Both authors were familiar with Chittor.
Simhaladvipa: The description of Simhaladvipa as a beautiful island across the ocean is common.
Ayodhya: Ratnavati mentions Ayodhya in her previous life story, and Jayasi also describes Ayodhya.

Conclusion: The analysis clearly shows significant similarities between Rayansehari Kaha and Padmavata in terms of time, narrative, poetic descriptions, imagery, geographical and social aspects. Given that Rayansehari Kaha predates Padmavata by only 85 years, it is highly probable that Jayasi read or heard this story before composing Padmavata. The author concludes that Rayansehari Kaha likely serves as the basis for Padmavata.