Sarvangin Sanshodhan Ane Samalochna - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Sarvangin Sanshodhan ane Samalochna" by Sukhlal Sanghavi:

This text is a preface or introduction to a doctoral dissertation on the literary life and achievements of Manilal Nabubhai Dwivedi, written by Dhirubhai Thaker. The author, Sukhlal Sanghavi, expresses his deep admiration for both the subject (Manilal) and the research done by the author of the dissertation.

Sanghavi begins by stating he heard the entire essay approximately a year and a half prior from Dhirubhai Thaker. He was profoundly impressed by Manilal's extraordinary capabilities and the dissertation's comprehensive research perspective and neutral critique. He notes that the presented printed version contains about half of the original essay, with sections related to Manilal's personal life omitted to focus solely on his literary journey. This, Sanghavi believes, makes the work more accessible and likely to spark further curiosity about Manilal's life after readers engage with his literary works.

Sanghavi highlights a commendable trend in Gujarat of selecting prominent modern scholars for PhD theses. He asserts that Manilal, being a distinguished scholar of the previous century, is an ideal subject for such research. He points out that Dhirubhai Thaker conceived this thesis eleven years ago, guided by the erudite late Ramnarayan V. Pathak. The dedication of nine years of continuous effort by Dhirubhai, combined with the appropriate subject and guide, has resulted in this "blessed union" (subhag yog) and the present dissertation.

Sanghavi, despite his own limitations in strength, understanding, and time, felt compelled to write this preface for two main reasons:

The dissertation's meticulous examination of Manilal's literature and work deeply impressed him with Manilal's exceptional talent and power.
He was equally struck by Dhirubhai's dedication, evident in his extensive reading, contemplation, and tireless efforts to gather scattered materials and even unearth seemingly unobtainable information to do justice to the subject.

Sanghavi emphasizes that the dissertation demonstrates a commitment to comprehensive research, involving study, contemplation, comparison, utilization of available materials, and the pursuit of unavailable ones. The reader, upon reading the dissertation, will undoubtedly recognize the author's thoroughness in making the research all-encompassing. The neutrality in evaluating and comparing Manilal's works is also evident, as indicated by the original essay and its annotations.

He stresses that to truly understand Manilal, the entire dissertation must be read carefully. Manilal was an extraordinary scholar of the past century, well-read and independent in his exploration of various subjects. Despite this, he remains little known to the public beyond a few scholars. Therefore, this dissertation, which provides a complete and accurate introduction to Manilal, will be beneficial not only to scholars but also to the general curious reader. Sanghavi believes that preserving a true and clear history of thinkers and writers and drawing inspiration from them for the progress of new generations is essential, and this dissertation serves as a true link in that historical chain, making it most welcome.

The dissertation is structured into seven chapters:

Samskar Pithika (Cultural Prelude): This chapter briefly but comprehensively portrays the clash between Eastern and Western influences and the resulting synthesis in India, particularly Gujarat, from the beginning to the end of the 19th century. It describes the societal landscape: one segment captivated by Western power and brilliance, becoming a devoted follower of Western culture; another segment remaining strictly orthodox, rejecting anything from the West; and a third, smaller but significant, segment that believed in selectively adopting valuable aspects from the West to enrich Indian culture, without compromising its millennia-old heritage. Manilal is presented as a prominent representative of this third group. His direct engagement with ancient Indian literature, understanding of its quality, and recognition of its enduring elements guided his life's work. The breadth of subjects and fields he covered in his relatively short life is astonishing.
Dharmatatva Charcha (Discussion on Religious Philosophy): This chapter analyzes Manilal's writings and books on religion and philosophy. It discusses his essay series "Abhyas," his independent books "Siddhantsar" and "Pravinimay," and his prose translation of the Gita. The analysis includes comparisons with works of scholars from India and abroad, maintaining neutrality and clearly articulating Manilal's original perspective. Manilal's core view was experiential and aimed at applying the concept of Advaita (non-dualism) to all aspects of practical life. His firm belief in Advaita made him seem incomprehensible to many with practical or superficial viewpoints. However, his writings clearly demonstrate his conviction, based on logic, scriptures, and experience. Sanghavi notes that many of Acharya Dhruv's philosophical discussions have their roots in Manilal's writings, suggesting Manilal laid the groundwork that Dhruv later clarified and expanded upon in a more accessible style. The dissertation critiques Manilal's technical works where necessary.
Social, Educational, and Political Discourse: This chapter delves into Manilal's continuous thinking and writing on society, education, and politics. His articles in "Purva ane Paschim," "Naripratishtha," and "Sudarshan Gadyaval" are examined. The author compares Manilal's vision and desired societal changes with those of other thinkers and prevailing systems. Sanghavi notes that few prominent scholars of that era directly discussed politics, but Manilal fearlessly presented his clear views. This suggests Gujarat produced not only social reformers but also a brilliant figure in the political thought of the last century.
Literary Criticism: This chapter offers a detailed and open discussion of Manilal's literary works, including his plays, novels, autobiography, essays, critical writings, research, and translations. The discussion of his play "Kanta" highlights two key points: the strong rebuttal to Navalram's critique of the play, and authentic information from veteran actor Jayashankar (Sundari) about the play's reception when staged by a Mumbai company. The dissertation also notes the impact of his play "Nrusinhavatar," written and staged at the request of the same company, with information provided by Jayashankar, who was involved in its performance. "Nrusinhavatar" remains unpublished but is expected to be released soon. The detailed analysis of "Gulabsingh" aims to correct the valuation made by the late Navalram Trivedi. By comparing excerpts from Lord Lytton's original English novel, the author proves that "Gulabsingh," while based on the English work, is not a literal or even largely translated adaptation but an independent adaptation. "Gulabsingh" was published piecemeal before the release of "Saraswatichandra," showcasing Manilal's talent as a novelist. The dissertation also touches upon Manilal's autobiography, which, though available, has not been fully published. The author has diligently reviewed the entire autobiography and discussed it, noting its unique style, filled with the resonance of truth, and comparing it candidly with Gandhiji's autobiography. Manilal is recognized as a capable essayist, having written approximately fifteen hundred pages of essays. The author provides a neutral examination of these essays, comparing their quality with those of Narmad, Ramanbhai, and Narsinhrao. Manilal reviewed and critiqued about 240 books, not just superficially but with thorough understanding and unbiased suggestions. He often expressed positive opinions even about books by authors who opposed him, a point well presented in the dissertation.
Manuscript Review and Research: Among Manilal's many activities, Sanghavi is most impressed by his observation and research of the Patan manuscripts. While others like Tod, Forbes, Mulhar, and Buhler had surveyed these collections, Manilal undertook this task immediately after them. Despite fewer conveniences and poor health, he worked systematically for approximately eight months, day and night. Facing challenges such as reluctance to open the Bhandars (libraries), dark and damp storage, refusal to allow written notes to be taken, and inadequate facilities for copyists, he meticulously cataloged the manuscripts he could access in 12 Bhandars. Furthermore, he presented a statement to Sir Sayajirao Gaekwad suggesting how the government should undertake the preservation of these libraries, which books should be published, which should be translated, and which should be made available in good editions. Based on these suggestions, Sir Sayajirao initiated the Praachya Vidya Mandir and the Gaekwad Oriental Series. Manilal didn't just suggest but actively participated, leading to the first modern Gujarati translations with introductions of works like "Anekanatavada," "Yashray," "Kumarapalcharit," "Shatdarshan Samuchchay," "Bhojprabandh," and "Ritisarsamuddharan," paving the way for translating ancient Sanskrit and Prakrit texts. To realize his father's suggestions, Manilal wrote summaries of 19 works in Gujarati and published them in two volumes. He also translated Bhavabhuti's three plays into Gujarati, with "Mahavircharit" still unpublished and incomplete. He also translated and edited several works in English and wrote original books like "Rajyoga." The dissertation details this work, aiming to inspire the curious.
Language and Style: Manilal is recognized as a master of prose. The dissertation offers the first detailed critique of his prose style, asserting that its vigor surpasses that of authors like Govardhanram, Narsinhrao, and Vakil. Even when compared to Munshi's eloquence, Manilal's prose is found to have greater depth and inquisitiveness. Manilal's ability to engage with various subjects also led him to write about language in literature. He categorized writers into four types, providing contemporary examples and fearlessly critiquing the writing style of respected figures like Mansukharam while appreciating the style of his perceived opponents like Ramanbhai.
Poetry: Beyond his prose, Manilal was also a poet. He experimented with various forms, writing devotional songs in melodic meters, Persian-style ghazals, and some metrical verses.

The author mentions the extensive research involved, including consulting hundreds of books and manuscripts. Dhirubhai Thaker made significant efforts to obtain Manilal's handwritten materials. He purchased and had a manuscript of "Nrusinhavatar" in Manilal's handwriting, which was otherwise unavailable, at considerable expense. He also meticulously obtained Manilal's printed and handwritten collection from his grandson, which included rare handwritten items like correspondence, wills, and notes on various books. He also acquired rare copies of Manilal's English lectures, such as "The Necessity of Spiritual Culture" and "The Doctrine of Maya." This entire collection has been entrusted to the Gujarat Vidya Sabha for preservation.

Sanghavi notes that while Manilal's autobiography was partially published by Anandshankar Dhruv in "Vasant," Manilal had intentionally not published it in its entirety and had instructed his heirs not to do so. The author has carefully studied this complete autobiography, which is in Manilal's handwriting, and used it as necessary in the dissertation. Such effort and time investment would only be undertaken by someone with a genuine passion for research and insight.

He highlights the poem "Kai lakhā nirāśāmāṁ amara āśā chhūpāī chhe" (Within vast despair, immortal hope lies hidden), which was popular and even appreciated by Mahatma Gandhi, who wrote a critique of it published in "Indian Opinion" in Africa. The author obtained a copy of this critique from Gandhiji's son, Ramdasbhai. Furthermore, he transcribed the handwritten version of the poem from the autobiography and corrected its previously inaccurate text, providing the corrected version in the poetry chapter of the dissertation. The correction of "Zahar nu naam le shodhi" to "Zahar nu naam le dhi" and the rectification of numerous date errors are cited as examples of the painstaking work involved. Sanghavi concludes by advising readers to at least read the seventh "Upasanhar" (Conclusion) chapter to gauge how effectively the author has done justice to his subject. The entire dissertation flows as an unbroken current, with no linguistic weaknesses or logical gaps. Sanghavi deems this exam-oriented dissertation a valuable addition to Gujarati literature and an inspiring model for those aspiring to complete a PhD thesis.