Tilakamanjiri Part 1

This is a comprehensive summary of the provided Jain text, "Tilakamanjiri Part 1," focusing on its content as presented in the pages and accompanying descriptive text.

Book Title: Tilakamanjiri Part 1 Author(s): Dhanpal Mahakavi, Shantyasuri, Lavanyasuri Publisher: Vijaylavanyasurishwar Gyanmandir Botad

Overall Context:

The provided text is the first part of the "Tilakamanjiri," a significant Jain literary work. The publication details indicate it's part of the Shri VijayNemisuri Granthamala series and was published in Vikram Samvat 2008 (VE 2478 / CE 1951). The text includes the original work by Dhanpal Mahakavi, a commentary (Tippanak) by Shri Shantyasuri, and a further commentary (Parag) by Shri Vijaylavanyasuri. The introductory sections highlight the importance of prose literature in Jain traditions and provide biographical and literary context for the author and his work.

Summary of Content (Based on the provided pages):

The "Tilakamanjiri" is a narrative story, likely a Kavya (poetic work) primarily in prose (Gadhya). The text begins with auspicious salutations to Jain deities and revered Acharyas.

Key Narrative Points from Pages 3-7 (Gujarati and Sanskrit):

1. Setting and Initial Situation:

   • The story is set in a beautiful city named Ayodhya in Uttara Kosala, ruled by King Meghavahana of the Ikshvaku dynasty.
   • He has a beautiful chief queen named Madiravati.
   • Despite their youth and immense wealth, the royal couple is deeply distressed by their childlessness.

2. Divine Intervention:

   • One morning, while the king and queen are discussing their sorrow on the palace terrace, they see a serene Vidhyadhar Muni (celestial being/ascetic) descending from the sky.
   • The Muni visits their terrace, and after being respectfully welcomed and seated by the king and queen, he inquires about their sadness.

3. The King's Plight:

   • King Meghavahana explains that their sorrow stems solely from their lack of children, which makes even short summer nights feel like an eternity due to their worry.
   • He recounts hearing a bard sing a verse that morning: "O King! Like the night departs, your troubles will cease. Worship the deities without fear, for your lineage will prosper like the sun's disc rises for the world's upliftment."

4. The Muni's Counsel:

   • The Muni, through Yog Nidra (yogic trance/foresight), reveals that a significant portion of their negative karma preventing offspring has already been exhausted, with only a small part remaining.
   • He advises the king not to go to the forest for penance but to remain in the city (in the Pramadvan - pleasure garden).
   • He instructs the king to observe a Muni-like vrat (vow) there, endure austerities, and worship Goddess Lakshmi, who will grant the boon.
   • The Muni also imparts the "Aparajita" mantra vidya (a powerful mantra) for the king to recite after his deity worship.

5. The Queen's Devotion and the King's Decision:

   • The Muni blesses the queen, and then departs.
   • The king decides to go to the forest to worship a deity for a child until the boon is granted. He tells his queen, who is distraught, that she should stay and serve the elders while he undertakes this spiritual endeavor.
   • The queen faints upon hearing this, and upon recovering, insists on accompanying him, stating she cannot live without him and considers this her final glimpse.

6. A Significant Encounter at Shakra-Avatar Tirth:

   • The king, Meghavahana, builds a beautiful temple near Akriḍa mountain in the Pramadvan and installs a magnificent idol of Goddess Lakshmi, commencing his worship.
   • Later, the king visits the Jin temple named Shakra-avatar.
   • Upon entering, he has darshan (sees) of Lord Adinath Prabhu and then encounters a Vaimanika Dev (celestial being from a Vimana).
   • The Vaimanika Dev identifies himself as Jvalanprabha from Saudharma Devlok. He explains his visit to this specific Tirth, consecrated by Lord Adinath himself. s He mentions he is going to Nandiishwar Dwip to console his friend, Sumali, who is experiencing great distress due to calamities surrounding his city, Ratavishala, which indicate his wife's impending demise. Jvalanprabha also notes his own short lifespan and the need to engage in Dharma aradhana.

7. The Gift of the Chandrataapa Necklace:

   • The Vaimanika Dev bestows upon the king a necklace named Chandrataapa, said to dispel all obstacles. The king ties it to his garment's edge.

8. Encounter with a Vetala:

   • In the evening, while worshipping Goddess Lakshmi, the king presents the divine necklace.
   • A fearsome Vetala (a demonic being) appears, laughing scornfully.
   • The Vetala claims to be a chief attendant of Lakshmi and questions why the king began worship without appeasing them first. He states that their pleasure is essential for receiving boons from the Goddess.

9. The Vetala's Demand and the King's Test:

   • The king offers fruits and other food items.
   • The Vetala rejects them, stating their food is flesh, and specifically demands the head of a king known for his virtues. He wishes to perform a Tarpan (ritual offering) for his father, who was killed by an evil king on a dark Chaturdashi (14th lunar day), using the blood from the sacrifice.
   • The king agrees to cut off his own head.
   • The Vetala presents a divine, sharp sword. The king declares himself unworthy of touching such a weapon and resolves to use his own sword. He grabs his own shining sword and attempts to strike his own neck.
   • As the sword touches his neck, its edge instantly dulls. The king tries repeatedly to wield it, but it refuses to move forward. The king remains steadfast in his resolve.

10. The Appearance of Goddess Lakshmi:

    • At this moment, celestial beings cry out in alarm, and Goddess Lakshmi appears.
    • The king asks who she is and why she has come.
    • Lakshmi reveals herself as Rajalakshmi and explains that she is attracted by his devotion and has come to ensure his task is completed quickly. She asks him to request what he desires.
    • The king, overwhelmed by her darshan, states he has no other desire than for her attendant to accept his skull. He explains his struggle with the sword and requests her grace to make it work so he can fulfill his promise and become debt-free.

11. The Test Revealed and the Boon Granted:

    • Lakshmi states she has no such attendants and that Mahendra, a gatekeeper, orchestrated this illusion to test him. She urges him to ask for what he truly needs.
    • The king, truly pleased by her presence, asks that Queen Madiravati be blessed to give birth to a valiant son, thereby upholding the glory of Ikshvaku queens.
    • Lakshmi grants the boon of a son and gifts him the Chandrataapa necklace, to be worn by the son when he is born and used to overcome adversity. She also gives him a jeweled ring named Balaruna.
    • Lakshmi then disappears.

12. The Necklace and Ring's Purpose:

    • The king recounts the event to the townspeople, showing them the har and the ring.
    • The next morning, he gives the necklace to the chief gemologist, Mahodadhi, to place in the treasury.
    • He instructs his commander, Vayudha, to send the ring to the general Vayudha, who is fighting enemies in the south, so that it can help him control the enemy during a night battle.
    • The king then proceeds to the royal palace with great celebration.

Commentaries:

• Tippanak by Shri Shantyasuri: This commentary, consisting of over fifty thousand verses (as mentioned in the preface), aims to explain the difficult words and complexities of Dhanpal's narrative.
• Parag Vivriti by Shri Vijaylavanyasuri: This is a further, highly detailed commentary that explains the text verse by verse, elaborating on grammar, rhetoric, etymology, and resolving apparent contradictions. It's described as a source of 'parag' (pollen/essence) for those seeking to understand the 'Tilakamanjiri.'

Author Context (Dhanpal Mahakavi):

• Dhanpal was a renowned poet of his time, contemporary to Kings Muñj and Bhoj.
• He was honored with the title "Saraswati" by King Muñj and treated like a son.
• He was initially inclined against Jainism due to his father's vow but was influenced by his brother Shobhan's conversion and ultimately embraced Jainism, becoming a devout follower.
• The "Tilakamanjiri" was composed at the request of King Bhoj.
• The preface also details Dhanpal's life, his intellectual prowess, and his conversion to Jainism, influenced by his brother Shobhan and the teachings of Muni Mahendrasuri. It highlights incidents that illustrate Dhanpal's wit and the depth of his faith, such as his encounter with his brother disguised as a Muni and his subsequent patronage of Jainism, even influencing King Bhoj.
• The text also touches upon the nature of prose (Gadhya) and poetry (Padya) literature, arguing for the superiority of prose for narrative richness and artistic expression.

Commentator Context:

• Shri Shantyasuri: A scholar from the Purnatalla Gachha tradition, renowned for his extensive commentaries.
• Shri Vijaylavanyasuri: The current Acharya of the Tapogachha, highly respected for his extensive knowledge and contributions to Jain literature, grammar, and philosophy. He has composed the "Parag Vivriti" for "Tilakamanjiri."

Overall Significance:

The "Tilakamanjiri" is presented as a work of high literary merit, excelling in prose composition, poetic devices, and philosophical depth. It aims to delight readers with its engaging narrative while imparting moral and spiritual lessons. The detailed commentaries by Shantyasuri and Vijaylavanyasuri further enhance its value for scholars and serious students of Jain literature. The narrative itself appears to be an allegorical story about overcoming karma, devotion to deities, and the pursuit of virtuous progeny.