Sanskruti Ki Shatak Parampara

Here's a comprehensive summary of the provided Jain text, "Sanskruti ki Shatak Parampara" by Satyavrat, focusing on its content:

The text, "Sanskrit Ki Shatak Parampara" (The Tradition of Hundred-Verse Compositions in Sanskrit), authored by Satyavrat, delves into the rich and ancient tradition of composing poetry in Sanskrit in the form of "shatakas" or collections of hundred verses. It highlights the historical development, significant authors, diverse themes, and the enduring popularity of this literary genre.

Key Themes and Arguments:

• Ancient and Rich Tradition: The tradition of composing verse collections, such as "ashtaka" (eight verses), "dshaka" (ten verses), and crucially, "shataka" (hundred verses), is deeply rooted and abundant in Sanskrit literature. This tradition also influenced Prakrit, Apabhramsha, and various regional Indian languages.
• Prolific Creation of Shatakas: Sanskrit has seen a vast output of Shatakas, with talented poets across different eras contributing to this literary stream. These compositions cover a wide spectrum of life-related subjects, including hymns, biographical descriptions, ethics, history, prosody, lexicography, Ayurveda, moral conduct, eroticism (shringara), and detachment (vairagya).
• Continuity of the Tradition: The Shataka tradition, originating from the 6th century CE, has continued in some form to the present day. While some ancient Shatakas, like Vedic hymns, are self-contained and context-free, modern ones often exhibit a subtle or even discernible thread of connection. The text notes a trend towards narrative structure in some Shatakas, moving from complete contextual independence towards a more connected "prabandha" form.
• Debunking Misconceptions about Shataka Quantity: The author challenges the notion that Sanskrit Shataka literature is limited to around a hundred works. He cites a list of 220 Shatakas in Hindi and mentions personal research yielding 106 Sanskrit Shatakas, with many more by Jain poets and from other traditions potentially bringing the total closer to three hundred. The majority of these are original compositions.
• Bhartrihari's Shataka-Traya (The Trilogy of Shatakas): The text identifies Bhartrihari (570-651 CE) as the earliest known composer of Shatakas with his famous Niti (Ethics), Shringara (Eroticism), and Vairagya (Detachment) Shatakas.
  • Niti Shataka: Focuses on noble virtues that make human life purposeful and guides conduct in worldly affairs. Bhartrihari is presented as a "lokakavi" (people's poet) who analyzes human nature.
  • Shringara Shataka: Depicts the irresistible attraction of love and women, and the futility of attachment. It illustrates the helpless plight of humans caught between attraction and repulsion.
  • Vairagya Shataka: Reflects on the transience of the world, the heartlessness of the wealthy, and the peace and joy of renunciation.
• Scholarly Debates on Bhartrihari: The text touches upon academic discussions regarding the authenticity and original form of Bhartrihari's Shatakas. Some scholars suggest the verses might not have originally existed as distinct "shatakas" and that the Niti and Vairagya Shatakas may have evolved into collections of "subhashitas" (wise sayings) due to scribal errors, while the Shringara Shataka is considered more coherent and personal.
• Global Popularity and Influence of Bhartrihari: The widespread popularity of Bhartrihari's Shatakas is evident from numerous manuscripts, editions, commentaries, and translations across the world. Its influence on subsequent Shataka literature is acknowledged as foundational.
• Mayura's Surya Shataka (Sun Shataka): This 7th-century work is recognized as a leading devotional poem, praising the sun through its rays, horses, charioteer, and form. Each verse is considered complete in itself, expressing desires for welfare, wealth, and the destruction of enemies. The Shataka's purpose is stated as "lokasya bhutyai" (for the welfare of the world). It also initiated the tradition of composing Shatakas in the "Sangharedhara" meter.
• Bana's Chandi Shataka: The son-in-law of Mayura, Bana, continued the "Sangharedhara" tradition in his "Chandi Shataka," which is a hymn to Goddess Chandi, particularly her foot that vanquished Mahishasura. Bana's intricate and artificial style is evident in this work.
• Amarushataka (8th Century CE): This collection of erotic verses by Amaru is highly regarded. The text emphasizes its praise by literary critics and its equivalence to extended narrative poems in terms of rasa (aesthetic sentiment). It beautifully portrays the various moods and expressions of lovers. The Amarushataka also achieved significant popularity and has numerous commentaries and translations.
• Other Notable Shatakas and Poets: The text proceeds to discuss a wide array of other Shatakas, categorizing them by theme and author:
  • Bhallata's Shataka: Composed of instructional ethical verses with a predominance of allegorical sayings (anyokti), characterized by grace and clarity.
  • Anandavardhana's Devi Shataka: A hymn to Goddess Durga, noted more for the poet's personality than its poetic qualities.
  • Vallala's Shataka: Similar to Bhallata's, focusing on allegorical sayings.
  • Kshemendra's Charucharya Shataka: Contains useful advice and worldly wisdom, supported by mythological and historical anecdotes.
  • Shilhana's Shanti Shataka: A purely religious work in the style of Bhartrihari's Vairagya Shataka, glorifying detachment.
  • Shambhu's Anyoktimuktalata Shataka: A collection of 108 ethical allegorical verses.
  • Mayura's Chitra Shataka: Follows the tradition of Surya Shataka, praising various deities in different meters, with the word "chitra" (picture/wonder) appearing in each verse.
  • Nagaraja's Bhava Shataka: Contains verses on specific emotions, often clarified with prose explanations.
  • Mukkakavi's Panchashati: A collection of five devotional works (Katakshashataka, Mandasmita Shataka, Padaravinda Shataka, Aryashataka, Stuti Shataka) praising the Goddess Kamakhya.
  • Bhatta Virveshwara's Anyokti Shataka: Features allegorical verses based on traditional symbols.
  • Someshvara's Rama Shataka: An early narrative Shataka based on the Ramayana, successfully employing the Sangharedhara meter.
  • Lakshmana Bhatta's Romanavali Shataka: A composition by Ramachandra.
  • Appayadikshita's Aryashataka: A beautiful and flowing work praising Lord Shiva, with skillful expression of emotions.
  • Nilakantha Dikshita's Three Shatakas: Samaranjana Shataka (human virtues), Vairagya Shataka (detachment), and Anyapadesha Shataka (allegory).
  • Asleshathashataka: A poem of sorrow by Narayana Pandit, addressed to his beloved Ashlesha.
  • Sarvabhauma's Shata-shloki: Related to the life of Mahaprabhu Chaitanya, popular in Bengal.
  • Kusumadeva's Drishtanta Kalika Shataka: A collection of ethical verses supported by examples.
  • Gumaniji's Upadesha Shataka: Contains advice.
  • Narhari's Shringara Shataka: A collection of erotic verses, some bordering on obscenity, with the poet expressing pride in his skill.
  • Goswami Janardana Bhatta's Shringara Shataka: Depicts feminine beauty.
  • Kamraja Dikshita's Three Shringara Shatakas: Published under the title Shringara Kalika Trishati.
  • Khadgashataka: Author and date unknown.
  • Mudgalabhatta's Ramarya Shataka and Gokulnath's Shiva Shataka: Other known Shataka compositions.
  • Kevalrama Jyotishraya's Abhilasha Shataka: A work from the court of Maharaja Sawai Jai Singh II of Jaipur, depicting Krishna's childhood pastimes and descriptions of seasons.
  • Shyam Sundar Dixit Lavji's Madhavasingharyashataka: Praising Maharaja Madhav Singh of Jaipur.
  • Various Shatakas from Jaipur: Including Sadbodha Shataka, Rajavarnana Shataka, and Plana Raj Shataka (on the virtues of onion) by Krishnaram Bhatta, and Aryalankara Shataka and Sara Shataka. Gopinath Shastri Dadich's Rama Saubhagya Shataka chronicles the life of Jaipur ruler Ramsingh.
  • Anantalwar's Sammarrjani Shataka: A work on the utility of a broom.
  • Vijnana Shataka: Its authorship is debated, with some considering it a work of Bhartrihari due to thematic and stylistic similarities.
  • Chajjuram Shastri's Sanskritasya Sampurnaitihasa (Shatakadwaya): A unique Shataka summarizing the history of Sanskrit literature.
  • Badrinath Sharma's Anyokti Sahasri: Comprising ten Shatakas on various symbolic themes.
  • Pandit Mathuraprasad Dikshit's Anyokti Shataka: A work by a renowned modern playwright.
  • Chintamani Deshmukh's Gandhi Sukti Muktavali: A collection of 100 Gandhi's aphorisms translated into Sanskrit verses.
  • Professor Shridhar Bhaskar Warnekar's Jawahar Tarangini (Bharataratna Shataka): A modern narrative Shataka glorifying Jawaharlal Nehru, with an English translation.
  • Other Shatakas by Warnekar: Vinayaka Vaijayanti Shataka, Ramakrishna Paramahamsiya Shataka, and Shakuntala Shatashloki are mentioned as likely unpublished.
  • S.T.G. Varadachariyar's Sanskrit Translations: Including Vemana Shataka, Sumati Shataka, Dasharathi Shataka, Krishna Shataka, and Bhaskara Shataka.
  • Jagdishchandra Vidyarthi's Vedic Shatakas: Selections of 100 mantras from the Rigveda, Yajurveda, and Samaveda.
  • Harihar Jha's Sukti Shataka: A compilation of Sanskrit poets' aphorisms.
  • Dr. Satyavrata Shastri's Shatashloki: A poetic work celebrating the culture of Greater India.
  • Kantkarjun's Kantakanjali (Navaniti Shataka): A critical and satirical work addressing contemporary issues in Indian society, politics, and economics, using innovative styles.
  • Ramkalas Pandey's Bharata Shataka and Hazarilal Shastri's Shiva Raj Vijaya Shataka: Historical poems.
  • Various Unknown Authors: Mention is made of Shatakas attributed to Chanakya, Vararuchi, Malladeva, Trimallaka, Yogindradeva, and others, along with unnamed works like Goraksha Shataka, Atmaninda Shataka, Mukh Shataka, and Vriddhayoga Shataka.

Conclusion:

The text concludes by emphasizing the vastness and diversity of Sanskrit Shataka literature, noting that almost all conceivable subjects have been addressed through this form. The author laments the scattered nature of this rich material and advocates for a well-edited collection of available Shatakas. The immense popularity of the Shataka form among the public is evident from the sheer volume and variety of these compositions.