Setubandha - Book Summary | JainGPT

This is a comprehensive summary of the provided Jain text, focusing on the key aspects and contributions presented in the translation and introduction of Pravarasena's Setubandha by K. K. Handiqui:

Book Title: Setubandha (also known as Rāvaṇavaha) Author: Pravarasena Translator/Editor: Krishna Kanta Handiqui Publisher: Prakrit Text Society, Ahmedabad Year: 1976

I. Overview and Significance of the Setubandha:

Unique Prakrit Mahākāvya: The Setubandha is highlighted as the only extant Prakrit Mahākāvya (epic poem) from early times.
Literary Importance: It is considered a significant work in the evolution of the Mahākāvya genre in both Prakrit and Sanskrit. Its influence is noted on later Sanskrit poets like Bharavi and Magha, marking a crucial phase of Kāvya development after Kalidasa.
Esteem: The poem was highly regarded by Sanskrit scholars and frequently quoted in Alamkara (poetics) works, indicating its high literary esteem.
Authorship Traditions: Various traditions exist regarding the author, Pravarasena. While some commentaries attribute it to Kalidasa for Pravarasena, others link Pravarasena to the Vakataka dynasty. The text notes that stylistic grounds militate against Kalidasa's authorship. Pravarasena II of the elder Vakataka branch (circa 5th century AD) is generally accepted as the author, likely drawing inspiration from the nearby Ramagiri (Ramtek).
Religious Aspect: Pravarasena identifies Rama with Vishnu, attributing Vishnu's avatars and functions to him. The poem also includes invocations to Shiva, reflecting a syncretic religious outlook common in the period.

II. Translator's Contribution and Method (K. K. Handiqui):

Meticulous Scholarship: Prof. Handiqui's work is praised for its meticulous scanning of numerous commentaries, including unpublished ones, to recover the original meaning and ascertain variant readings.
Recovery of Meaning: A primary goal was to recover the original meaning and implication of Pravarasena's verses, tackling over a thousand years of textual confusion and divergent interpretations.
Translation Philosophy: The translation generally follows Goldschmidt's edition but prioritizes readings where Ramadāsa and Kulanatha agree, and in cases of discrepancy, favors readings common to Kulanatha and Southern commentators for better meaning.
Exegetical Material: Profuse extracts from various unpublished commentaries (Krishṇavipra, Madhavayajvan, Kulanatha, etc.) are provided, offering valuable data for textual and exegetical history.
Introduction: The extensive introduction covers authorship, date, sources, influence, form, language, metre, literary worth, and the complex commentarial tradition and textual recensions of the Setubandha.
Publication: The book was in press for several years and divided into two parts due to printing difficulties. The author generously bore publication costs and donated the work to the Prakrit Text Society.

III. Content and Structure of the Setubandha:

Narrative Scope: The poem covers a portion of Rama's story, from Hanuman's return from Lanka with news of Sita to Ravana's death, with a central focus on the construction of the bridge (Setu) across the ocean.
Canto Outline: The introduction provides a detailed summary of the fifteen cantos, detailing key events:
- Cantos I-III: Description of autumn, Hanuman's return, the Vanara army's fear of the ocean, Sugriva's motivational speeches emphasizing valor, prestige, and devotion to Rama.
- Cantos IV-V: Jambavat's counsel for patience, Vibhishana's arrival and consecration, Rama's fast and subsequent wrathful arrows upon the unresponsive Ocean.
- Canto VI: The Ocean's appearance, his suffering and explanation of limitations, leading to Rama's approval of building a causeway of mountains.
- Canto VII: The initial failure of the Vanaras to construct the bridge by haphazardly dropping mountains.
- Canto VIII: Nala's genius in methodically constructing the causeway from mountains, linking the mainland to Lanka.
- Cantos IX-X: Descriptions of Suvela mountain, evening scenery, and the joys of love in Lanka.
- Canto XI: Ravana's attempt to deceive Sita with a magic head of Rama, Sita's grief, and Trijata's consolation, highlighting Pravarasena's dramatic shaping of the episode.
- Cantos XII-XV: The ongoing battle, descriptions of morning, Vanara and Rakshasa armies, various combats, Rama and Lakshmana being struck by serpent arrows, Garuda's intervention, deaths of key demons (Dhumraksha, Akampana, Prahasta, Kumbhakarna, Indrajit), Meghanada's defeat by Lakshmana, Rama's lament and subsequent revival, presentation of Indra's chariot, Rama's refusal to delegate the killing of Ravana, the final archery contest between Rama and Ravana, and Ravana's death. Vibhishana's lament and Rama's orders for funeral rites are also included, followed by Rama's return to Ayodhya.
Kavya Themes: Pravarasena incorporates conventional Mahākāvya descriptions (nature, battles) alongside novel elements like the elaborate depiction of the evening scene and amorous activities, which influenced later Sanskrit works.
Sita's Lament: Pravarasena's portrayal of Sita's laments is noted for its sophistication and psychological depth, contrasting with the more naive laments in the Valmiki Ramayana.
Trijata's Role: Trijata's character is depicted as a wise counselor and a mouthpiece for Pravarasena's religious views.
Sugriva's Characterization: Sugriva is portrayed as an impulsive leader, prone to exaggeration, but ultimately loyal.
Geographical Accuracy: Pravarasena's familiarity with the southern mountain system (Vindhya, Sahya, Malaya) and its alignment with the Ramayana narrative is discussed.
Stylistic Features: The poem is characterized by long compounds, alliteration, and elaborate Rupakas. Handiqui notes that while Pravarasena lacks Kalidasa's lucidity, his style has affinities with Bharavi's.

IV. Commentarial Tradition and Recensions:

Richness of Commentaries: The existence of numerous Sanskrit commentaries highlights the poem's long-standing popularity and the efforts to understand its complex language and allusions.
Key Commentators: Major commentators whose works were utilized include Krishṇavipra, Madhavayajvan, Kulanatha, Ramadāsa, and others, representing different schools of interpretation (South Indian, Bengali, Northern/Rajasthan).
Recensions: The introduction details the identification of three main recensions (South Indian, North Indian, Bengal) and discusses their textual variations, with the South Indian recension being particularly noted for its sixteen-canto structure due to an arbitrary division.
Linguistic Analysis: Handiqui provides a detailed analysis of the Prakrit language used in the Setubandha, discussing features like the change of 't' to 'd' (contrasting Vararuci and Hemacandra), treatment of 'ks', use of suffixes like '-alla', and the presence of Apabhramsa traits. The language is identified as classical Mahārāṣṭri with some influence from colloquial speech and Apabhramśa.

V. Overall Contribution:

Prof. Handiqui's translation and study of the Setubandha is recognized as a major contribution to Prakrit philology. It provides a critical edition, an exhaustive introduction, and valuable extracts from commentaries, making this seminal work accessible to a wider audience of scholars and students of classical Indian literature. The work lays a foundation for future scholars attempting to settle various recensions and prepare a definitive critical text of the Setubandha.