Tilakmanjarisara

This is a comprehensive summary of the Jain text "Tilakamanjarisara" by Pallipala Dhanapala, based on the provided information.

Book Title: Tilakamanjarisara Author: Pallipala Dhanapala Editor: Narayan Manilal Kansara Publisher: L. D. Institute of Indology, Ahmedabad First Edition: March 1969

Overall Purpose of the Text: The Tilakamanjarisara (TMS) is a metrical abridgment of the well-known Sanskrit prose romance Tilakamanjari (TM) by Kavi Dhanapala. The author, Pallipala Dhanapala, aimed to preserve the charm, story structure, and essence of the original work while adapting it into verse. The TMS is written in Sanskrit and follows the Anustubh meter.

Context and Significance: Kavi Dhanapala's Tilakamanjari, composed around the 11th century (VS), is a significant prose romance that blends religious themes (Jainism) with an elaborate narrative of love and adventure. It features a vast cast of characters and intricate plotlines spanning various locations, including celestial realms. Pallipala Dhanapala's adaptation in verse is considered a successful attempt to capture the spirit of this classic, making it accessible to a wider audience and fostering interest in the original prose work.

Key Aspects of Pallipala Dhanapala's "Tilakamanjarisara":

1. Author of the TMS (Pallipala Dhanapala):

   • He belonged to the Pallipala family of Anahillapura (Patan).
   • His father was the poet Amana, author of the epic Nemicaritam.
   • His elder brother was Anantapala, who wrote a treatise on Spashta Patiganita.
   • Pallipala Dhanapala completed his TMS in 1261 VS (1205 AD) on a Thursday, the eighth day of the bright half of the month of Karttika.
   • He explicitly states his intention to extract the "essence" of the original work, like a bee collecting nectar.
   • The work was likely undertaken as a poetic exercise at his father's instance.

2. The Original Work (Kavi Dhanapala's "Tilakamanjari"):

   • A Sanskrit prose romance.
   • Depicts the love affairs of Prince Harivahana with the celestial princess Tilakamanjari and Prince Samaraketu with the semi-celestial princess Malayasundari.
   • The narrative shifts between earthly and celestial settings, covering a vast geographical and cosmological scope.
   • The story is rich with characters, divine elements, and motifs like a divine necklace, a cursed parrot, and an omniscient sage.
   • It is interspersed with around a hundred verses in various meters.
   • Kavi Dhanapala, a Brahmin convert to Jainism, flourished between 955 and 1055 AD, associated with the Paramara Dynasty of Dhara. He was honored with the title "Sarasvati" by King Bhoja.
   • The original work subtly incorporates Jainistic themes and emphasizes the transient nature of worldly pleasures.

3. The Manuscript and Textual Basis:

   • The present edition is based on a single available manuscript (codex unicus) from the Atmananda Jaina Jnana Mandir, Baroda.
   • The manuscript is dated V. Samvat 1261 (1205 AD).
   • The editor, N. M. Kansara, also utilized the manuscript of the original prose work (Tilakamanjari) to restore the text of the TMS, as Pallipala Dhanapala closely followed the original.
   • The editor notes scribal errors in the manuscript and occasionally supplements lacunae in square brackets with explanations in footnotes.

4. Structure of the TMS:

   • The work is divided into nine Viśramas (cantos), aptly named Prayāṇakas (journeys or stages).
   • Each canto covers a distinct part of the story, marked by advancements in the narrative.
   • The cantos are named after key events:
     1. Lakṣmīprasādana (Propitiation of the Goddess of Prosperity)
     2. Mitrasamāgama (Union with the Friend)
     3. Citrapaṭadarśana (A Look at the Portrait)
     4. Purapraveśa (The Ceremonial Entrance Into the City)
     5. Nāvaivarṇana (An Invocatory Description of the Boat)
     6. Malayāsundarīvṛttānta (The Tale of Malayasundari)
     7. Gandharvakakṣapāpagama (The Termination of the Curse to Gandharvaka)
     8. Prāgbhava Parijñāna (Revelations About the Previous Births)
     9. Rājyadvaya Lābha (Attainment of Both the Kingdoms)
   • The total number of verses is 1205, with each canto concluding with one or two verses in different meters.

5. Summary of the Story as presented in the TMS Cantos:

   • Canto I: Focuses on King Meghavahana of Ayodhya, his desire for a son, his worship of the Goddess Sri, and the divine boon of a son, Harivahana. It also describes the gift of a divine necklace (Candratapa) and a magic ring (Balaruna) from celestial beings.
   • Canto II: Chronicles the birth and childhood of Harivahana, his coronation, and the arrival of Prince Samaraketu from Simhala. Samaraketu's story begins with his encounter on Ratnakuta Island and his subsequent involvement in the affairs of Ayodhya.
   • Canto III: Details Prince Harivahana's fascination with a portrait of Tilakamanjari, introducing his first love at first sight. It also elaborates on Samaraketu's naval expedition and his sighting of Malayasundari.
   • Canto IV: Describes Harivahana's subsequent longing for Tilakamanjari, his unwitting abduction by a flying elephant, and Samaraketu's search for him. This canto sets up the main quests for the protagonists.
   • Canto V: Continues Harivahana's journey after being carried away by the elephant, his encounter with an ascetic girl (who is Malayasundari), and then delves deeply into Malayasundari's own past, her kidnapping by Vidyadharas, and her romantic encounter with Samaraketu at the sea.
   • Canto VI: Focuses on Malayasundari's plight, her attempt at suicide, her rescue, and further elaborates on Samaraketu's efforts to find her. It also details Malayasundari's subsequent difficult journey and her eventual placement in a hermitage.
   • Canto VII: Recounts Harivahana's reunion with Samaraketu and his companions. It describes how a parrot carries messages and how Harivahana is involved with Tilakamanjari. The canto also features Gandharvaka's story, his curse, and how he served as a messenger in bird form.
   • Canto VIII: Focuses on Harivahana's search for Samaraketu and the revelation of past lives. The sage explains the karmic connections between Harivahana, Tilakamanjari, Samaraketu, and Malayasundari, tracing their previous births and divine relationships.
   • Canto IX: Concludes the narrative with the final unification of the couples, Harivahana becoming emperor of the northern region of Vijayardha and then marrying Tilakamanjari. Samaraketu also marries Malayasundari, and Harivahana ultimately inherits the throne of Ayodhya. The epilogue provides autobiographical details of Pallipala Dhanapala and his family.

6. Pallipala Dhanapala's Contribution:

   • He successfully summarized a complex prose romance in verse, preserving its narrative flow and essence.
   • He introduced some sympathetic imageries and similes not present in the original.
   • He clarified certain ambiguities in Kavi Dhanapala's original work, such as the relationship between Sumali, Priyamvada, and Svayamprabha, and the origin of the Balaruna ring.
   • He demonstrated considerable command over various Sanskrit meters.
   • His work is considered the best among the metrical compendiums of Tilakamanjari available.

7. Comparison with Laksmidhara's "Tilakamanjari-katha-sara" (TMKS):

   • Both works are epitomes of Kavi Dhanapala's TM and share similar purposes and sometimes parallel passages.
   • Pallipala Dhanapala is seen to have superior poetic ability, preserving the flavor and spirit of the original better than Laksmidhara.
   • Laksmidhara's work, while more economical in verse count, is considered less insightful in capturing the story's nuances.

8. Comparison with "Tilakamanjari-kathoddhara" (TMKU) ascribed to Padmasagara:

   • The author of TMKU aimed to "rescue" or "repair" the story rather than merely summarize it.
   • TMKU introduces many additions and elaborations not found in the original TM, sometimes detracting from its artistic merit.
   • Pallipala Dhanapala's work is praised for its faithful summarization and poetic presentation compared to the more liberties taken by the author of TMKU.

Conclusion: The Tilakamanjarisara by Pallipala Dhanapala is a valuable contribution to Jain literature, offering a metrical rendition of a significant prose romance. It is praised for its faithfulness to the original's spirit and story structure, its poetic quality, and its role in making a classic work more accessible. The edition by N. M. Kansara is a scholarly effort to present this important text to the literary world.