Sagardatt And Lalitang Rasaka

The provided text is a book titled "Sagardatt Shreshthi Rasak and Lalitang Charitra Rasak" published by Kalikal Sarvagya Shri Hemchandracharya Navam Janmashatabdi Smruti Sanskar Shikshannidhi, Ahmedabad, in 1998. It contains two old Gujarati poems that are significant for their continuation of the Apabhramśa Rāsaka / Rāsābandha genre in the 15th-16th centuries. The text includes an introduction by H. C. Bhayani and is edited by Acharya Vijayashilchandra-suri.

Here's a breakdown of the key aspects:

1. Book Overview:

• Title: Sagardatt Shreshthi Rasak and Lalitang Charitra Rasak.
• Authorship of the Poems:
  • Sagardatt Shreshthi Rasak: Written by Shantishuri.
  • Lalitang Charitra Rasak: Written by Ishwarsuri.
• Editor: Acharya Vijayashilchandra-suri.
• Introduction: H. C. Bhayani.
• Publisher: Kalikal Sarvagya Shri Hemchandracharya Navam Janmashatabdi Smruti Sanskar Shikshannidhi, Ahmedabad.
• Publication Year: 1998.
• Significance: These are described as "two remarkable old Gujarati poems that continued the Apabhramśa Rāsaka / Rāsābandha genre in the 15th-16th century." This highlights their importance in the evolution of literary forms.

2. Introduction by H. C. Bhayani:

Bhayani's introduction is extensive and provides valuable context:

• Jain Contribution to Literature: He emphasizes the significant, though often underappreciated, contributions of Jain Munis to preserving Sanskrit, Prakrit, and especially Apabhramśa literary traditions, which then transitioned into medieval regional literatures.
• The Rasaka/Rāsābandha Genre:
  • It's described as the second important genre in Apabhramśa literature, distinct from Sandhibandha.
  • It was a lyrical composition, akin to Sanskrit Khandakāvya (like Meghaduta).
  • It often employed a primary fixed meter for the body of the poem and various choice meters for variation.
  • Despite its popularity (as evidenced by prosodists like Svayambhu), very few early Rasaka works or even excerpts have survived.
  • The genre persisted and transformed in New Indo-Aryan literatures, continuing in forms like Rāsas even today.
  • Hundreds of Rāsas exist in Early Gujarati and Rajasthani, many by Jain authors.
• Key Apabhramśa Rasaka Works Mentioned:
  • Samdesharasaka of Abdala Rahamana (10th century): A significant work, described as a Sandesa kavya of moderate length, using a variety of meters. Its uniqueness is amplified by its Muslim author.
  • Upadesharasayana-rasa of Jindattasuri (12th century): A didactic work, less representative of a typical Rasaka in its structure, used for religious preaching.
• The Samdesharasaka (SR.) as a Model: Bhayani highlights the Samdesharasaka as a crucial example, detailing its structure, theme (message of a separated woman), and metrical variety (one frame meter and over twenty variation meters). He also notes its importance as the first published Apabhramśa text of its kind.
• Prosodists and Meter Definitions: Bhayani discusses the contributions of prosodists like Virahanka and Svayambhu in defining the Rasaka form, including specific meters like Adilla, Duhaha, Ghatta, Chaddania, and Paddhadia.
• The Sāgaradatta-Shreshthi Rasak (SSR.):
  • Authorship and Date: Written around 1460 A.C. by Shantishuri.
  • Form and Structure: Follows the model of the Samdesharasaka, using multiple meters for variation. It also includes descriptions of reasons (changes in people's daily life, food, dress, festivals) which provide a realistic picture of common life.
  • Language: A mix of Prakrit, Apabhramśa, and Old Gujarati.
  • Theme: The story of Sāgaradatta.
  • Other Works on Sāgaradatta: Mentions other medieval Gujarati poems on the same story.
• The Lalitanga Charitra Rasak (LC.): (Though the detailed introduction for LC. appears on later pages, Bhayani's overall framing covers the genre).
  • Authorship and Date: Written by Ishwarsuri in 1505 A.C.
  • Form and Structure: Also follows the Rāsābandha mold, surpassing Shantishuri's work in metrical richness and descriptions. It's divided into four Adhikāras (sections).
  • Language: Primarily Old Gujarati, with influences from Braja and influences from the Prākrita Paingala.
  • Theme: A charitakavya (biographical poem) about Lalitanga.

3. Content of the Poems (as indicated by the text):

The book then presents the actual poems, detailing the meters used in each section.

• Sagardatt Shreshthi Rasak:

  • Opening: Begins with salutations to Saraswati and mentions the purpose of the work, which is to narrate the story of Sāgaradatta in a delightful manner.
  • Structure and Meters: The poem is structured using various meters like Gāhā, Rāsābandha, Adilla, Bhujaṅgaprayāta, Mālatī-rūpaka, Shaṭpada, Paddhadi, Rāsa'u, Chāli, Dūhā, Ghāta, * Rathoddhatā*, Siloga, and Kundaliyā.
  • Themes/Descriptions: It includes descriptions of seasons (Sadṛtuvarnana), the beauty of nature (Vana-rāji-varṇana), and the story of Sāgaradatta. The descriptions of seasons are notable for detailing changes in daily life.
  • Language: A blend of Prakrit, Apabhramśa, and Old Gujarati.
  • Story Element: The narrative aspect is present but seems to be complemented by rich descriptions.

• Lalitang Charitra Rasak:

  • Opening: Begins with salutations and mentions the work as Rasaka Chudamani. It also references the lineage of gurus, including Shantishuri, Ishwarsuri's guru.
  • Structure and Meters: This poem also uses a wide array of meters, including Gāhā, Dūhā, Shaṭpada, Sāṭaka (Shārdūlavikriḍita), Bhujanga-prayāta, Kalashe-shaṭpada, Paddhadi, Rāsa'u, Vastu, Chāli, Kundaliyā, Rodillā, Nārāca, Pādākulaka, Tribhamgi, Sragviṇī, Dhamila, Adilla, Sahi-nāmā Dūhā, Shortened Dūhā, Ahūthiyā Dūhā, and Sorathiyā Dūhā. The text meticulously lists the order of these meters.
  • Theme: The story of Lalitanga. The introduction to LC. highlights it as a charitakavya. The poem details:
    • Lalitanga's early life, virtues, and his father's advice about charity.
    • Lalitanga's exemplary giving and the king's reaction to his detached nature.
    • A period of hardship and blindness for Lalitanga.
    • The intervention of his loyal servant, Sujana, and the advice received.
    • The story involves themes of dharma, karma, and the consequences of actions.
    • Lalitanga's eventual reunion with his father and his wife, and his return to prosperity.
    • The narrative moves towards moral lessons and the ultimate attainment of salvation.
  • Language: Primarily Old Gujarati, with some influence from Apabhramśa and Bardic traditions.
  • Influences: The author is noted to have been influenced by previous traditions, including the Samdesharasaka and potentially works referenced in Prākrita Paingala.

4. Publisher and Purpose:

The publisher, "Kalikal Sarvagya Shri Hemchandracharya Navam Janmashatabdi Smruti Sanskar Shikshannidhi, Ahmedabad," suggests the book is part of initiatives to commemorate the 9th birth centenary of Acharya Hemchandracharya, a significant Jain scholar and poet. The aim is to promote literature and cultural heritage.

In summary, this book is a scholarly edition of two important medieval Gujarati poems that exemplify the continuation and adaptation of the Apabhramśa Rāsaka tradition. H. C. Bhayani's detailed introduction places these works within the broader context of Jain literary history and the evolution of poetic forms, while the editorial work makes these significant texts accessible to researchers and scholars.