Samay Sunder And His Sanskrit Works

Here is a comprehensive summary of the provided Jain text about Samayasundara and his Sanskrit works:

The text introduces Samayasundara as a highly prolific and celebrated monk from the Kharatara gaccha, a branch of the Svetambara Jain faith. He is considered one of the most productive writers in Jain tradition, excelling in a wide array of subjects and languages.

Early Life and Education: Born in Sanchor, Marwar, Samayasundara joined the monastic order relatively late, around the age of twenty (estimated birth year V.S. 1610, or 1553 AD). Despite starting as an "illiterate villager," his rigorous training under his teachers, Mahimarāja and Somarāja, transformed him into a versatile scholar proficient in grammar, poetics, lexicography, and canonical literature. He consistently honored his first preceptor, Sakala Candra Gani, through reverential allusions in his works.

Rise in the Hierarchy and Titles: Samayasundara's sharp intellect and devotion led to rapid elevation within the gaccha. He achieved the esteemed title of Gani even before composing his first work, the Bhavasataka. He later earned the titles of Vacaka and Upadhyaya (Pathaka). Upon the death of his teacher Jinasimhasuri in V.S. 1680, Samayasundara automatically ascended to the position of Mahopadhyaya, becoming the senior-most monk and scholar.

Travels and Influences: Samayasundara was a widely traveled individual. His journeys, which began around V.S. 1644, exposed him to diverse regions and languages of India, broadening his perspectives. These travels also enabled him to gain influence with prominent figures, leading to his involvement in advocating for the ban on animal slaughter and other social reforms. He primarily focused his activities and compositions in his home state of Rajasthan and the neighboring Gujarat, with a particular fondness for Ahmedabad, where he spent several highly productive caturmasas.

Later Life and Challenges: By V.S. 1696, at the age of eighty-six, Samayasundara's physical health declined. His later years were marked by significant personal hardship, including a schism in his gaccha caused by his pupil Harsanandana in V.S. 1686, and a devastating famine in Gujarat in V.S. 1687. During the famine, he was forced to sell his possessions, and tragically, his pupils, to whom he had imparted much knowledge, abandoned him. These adversities left him a "broken man," and he passed away in V.S. 1703 at the age of ninety-three, a stark contrast to his otherwise successful career.

Literary Output and Key Sanskrit Works:

Samayasundara is hailed as a literary genius comparable to Hemacandra, with an immense body of work spanning various disciplines and languages, including Rajasthani. His contributions to Sanskrit literature are substantial and in many cases, unparalleled.

• Sataka Genre: He innovated the sataka genre, transforming it from erotic or gnomic poetry into a medium for conveying sastric (scriptural) knowledge.

  • Bhavasataka (V.S. 1641): His first work, concisely presenting the concept of Dhvani (suggested meaning) as propounded by Mammata in the Kavyaprakasa.
  • Samacari Sataka: Focuses on Jain ethics, refuting criticisms against the Jain faith and the Kharatara gaccha. It addresses a hundred controversial ethical issues, supported by canonical precepts, and is divided into five chapters. Believed to have concluded in V.S. 1672.
  • Visesa Sataka (V.S. 1672): Resolves a hundred doctrinal or ritualistic problems posed by a pupil, based on authoritative texts.
  • Vicarasataka: Explains and solves a hundred issues in Jain philosophy in a style similar to Visesa Sataka, meticulously adhering to scriptural support. Composed in Medata in V.S. 1674.
  • Visamvada Sataka (V.S. 1685): Identifies and lists a hundred instances of inconsistency and contradiction in canonical texts, without attempting to resolve them.

• Astalaksi or Artharatnavali: Considered his most pedantic and glory-bringing work. It's a monumental feat of multiple interpretations, extracting over eight lakh meanings from a single sentence to counter accusations of imprecision in Jain scriptures. This work, blessed by Emperor Akbar in V.S. 1649, showcases his profound mastery of Sanskrit grammar and lexicography.

• Stotras and Devotional Hymns: Samayasundara also wrote numerous stotras (devotional hymns), often dedicated to Parsvanatha. These works demonstrate his command of literary devices like yamaka (alliteration), slesa (pun), and samsyapurti (completion of a verse). While some are considered overly artificial, others exhibit moderation and deep devotion.

  • Rsabha-bhaktāmara stotra: Written as a samasyāpūrti of Manatunga's Bhaktāmara, this work is praised for its lucidity and religious fervor.

• Grammar and Linguistics: His works reflect a strong grounding in grammar, referencing texts like Astādhyayi and Hemacandra's works.

  • Sarasvata-vyākarana-rahasya (SVR) and Sarasvate-sabda-rūpāvali (SSR): These works demonstrate his expertise in the Sarasvata grammar system.

• Narrative Literature:

  • Kalakacharya-Katha (KK) (V.S. 1666): An important contribution to Jain story literature, considered superior to many earlier works on the same theme.
  • Kathapatrani: A collection of 114 stories, with a manuscript written by the author himself in V.S. 1695.

• Rituals and Religious Observances:

  • Caturmasa Vyakhyana (V.S. 1665), Sravakaradhana (V.S. 1667), and Diksa-pratistha suddhi (V.S. 1685): These works deal with Jain rituals, with the last one featuring a significant discussion on astrology, assisted by his pupil Jayakirti.

• Kharataragaccha-pattavali (KP) (V.S. 1690): Traces the genealogy of the Kharatara gaccha pontiffs, enhanced by biographical accounts of the acaryas.

• Commentaries (Vrttis): Samayasundara authored numerous commentaries on both sacred and secular texts, demonstrating his skill as a scholiast. These were often written to fulfill the needs of his pupils.

  • Arthalapanika on Kalidasa's Raghuvamsa (V.S. 1692): Offers simple explanations, with special attention to dissolving compounds and providing fresh interpretations of verses.
  • Commentary on Kalidasa's Kumara Sambhava (V.S. 1679).
  • Gloss on Vrttaratnakara (V.S. 1694): Showcases his deep understanding of prosody.
  • Commentaries on Meghaduta and the third canto of Maghakavya.
  • Tika on Vagbhatalamkara (V.S. 1692): Unravels Sanskrit poetics, offering critical evaluations of other writers' views.
  • Gloss on Dasavalkalika sutra (V.S. 1691): A lucid explanation of this sacred Prakrit text, contrasting with the abstruse commentary of Haribhadra Suri.
  • Commentary on Bhadrabahu's Kalpasutra (between V.S. 1684-1685): Asserts its superiority over previous commentaries, aiming for a higher purpose beyond academic needs.
  • Gloss on Navatattvaprakarana (V.S. 1688): Clearly explains the nine essential tattvas of Jain doctrine.
  • Gloss on Dandakaprakarana (V.S. 1696): Concisely explains the stanzas of this work.
  • Commentaries on popular stotras like Bhaktamara, Kalyanamandira, Rsimandala, Saptasmarana, Duriyarasamira, and Jayatihuna.

In conclusion, Samayasundara was a multifaceted scholar who significantly contributed to Jain literature and Sanskrit studies. His extensive and diverse writings, characterized by intellectual rigor and a deep engagement with tradition, cemented his legacy as a towering figure in Jain intellectual history. The text highlights his dedication to scholarship, his eventual struggles, and the lasting impact of his literary achievements.