Tran Sanskrit Faggu Kavyo

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The book, "Tran Sanskrit Faggu Kavyo," authored by Pandit Shilchandrasuri, is a scholarly exploration of three Sanskrit "Phaggu" or "Fagu" type poems within medieval Gujarati poetic literature. The introduction highlights the significant popularity of the Fagu genre, exemplified by famous works like "Vasantvilas Phag." Jain poets have also contributed extensively to this genre.

Key Characteristics of Fagu Poetry:

• Theme: Primarily revolves around the Holi festival in the month of Phagan (spring) and the spring season itself.
• Dominant Rasa: Shringar Rasa (erotic sentiment) is considered essential to this genre.
• Jain Adaptations: Jain poets, while adhering to the Shringar theme, often depict the romantic dalliances of characters like Nem (Nemi Natha) and Rajul, and Sthulabhadra and Kosa. However, their portrayal of Shringar ultimately leads to Vairagya (detachment and renunciation), aligning with the spiritual journey of the characters.

The text then introduces the three specific Sanskrit Phaggu poems presented in the book:

1. Nabheyastavan (by Jagadguru Jainacharya Shri Hiravijayasuriji):

• Author: Shri Hiravijayasuriji, known for his work in promoting Jainism, his debate with Emperor Akbar, and his role in establishing the Amari movement. This is confirmed by the concluding verses and colophon of the Stavan.
• Nature: It's a hymn (Stavan) that is also composed in the Fagu style.
• Language & Style: While Sanskrit, it shows an effort to simplify language for accessibility, evident in the use of "tu" (you) in the first Dhala (Rasak) section, suggesting a willingness to employ colloquialisms. The poem is described as short, lyrical, and impactful, showcasing the author's poetic skill and scholarship.
• Significance: This composition is currently unpublished and attributed to Shri Hiravijayasuri, whose works are rare, making this publication particularly valuable.

2. Simandharajinstavan (by Vachak Sakalchandragani):

• Author: Vachak Sakalchandragani, a renowned poet within the Jain Sangh, known for his "Sattarbhedi Puja." He was a disciple of Shri Vijaydansa Suri, the guru of Shri Hiravijayasuri.
• Attribution Debate: While the presence of the phrase "Hiravijayaadaram" in the poem initially suggests authorship by Shri Hiravijayasuri, the 26th verse, "Sakalchandramanisurutaruphalinam," clearly indicates Sakalchandragani as the author.
• Word Usage: The text points out the use of the Persian word "Ilata" in the 17th verse, meaning "upadrava" (nuisance, trouble, calamity). It draws a parallel with a Gujarati Stavan by Shri Nayvijay to support this interpretation.

3. A Third Composition (Implied as a Fagu):

• Author: Upadhyay Yashovijayji, a famous logician and philosopher also known for his melodious devotional poetry.
• Influence: This composition, though brief and consisting of only one Dhala, shows a clear influence of Jayadeva's "Gita Govinda," particularly its second Dhala in the first Sarga. The structure and lyrical quality are compared to Jayadeva's masterpiece.
• Significance: Sanskrit lyrical works by Upadhyay Yashovijayji are not commonly found, making this short piece from him also of significant importance.

Source and Editorial Notes:

• The author received Xerox copies of these three compositions from his friend, the scholar Muni Shri Dhurandharvijayji. Efforts are being made to find other manuscripts.
• The editor notes that some inaccuracies are present in the received copies, which have been retained in the present edition and marked with a question mark (?).

Content of the Poems (as excerpted):

The text then provides excerpts from these poems, showcasing their devotional and lyrical qualities.

• Nabheyastavan: Features verses praising the first Tirthankar, Nabhinatha, with devotional language and poetic meters.
• Simandharajinstavan: Is a more extensive devotional piece dedicated to Simandhar Swami, the present Tirthankar in another realm. It incorporates various ragas (musical modes) like Shri Raga, Goudi, Huseini Bairadi, Malhar, and Malva Goudi, indicating its musical and lyrical intent. The poem is structured with verses and couplets. The colophon confirms the author and mentions it was written for personal study.
• Third Composition (attributed to Yashovijayji): The provided excerpt is short and focuses on praising the Tirthankar, with a clear resemblance in its lyrical style to "Gita Govinda." The colophon at the end of the Simandharajinstavan seems to include a reference to Yashovijayji's "Nabheyajinstavan," suggesting a potential misplacement or inclusion of a different work. The final excerpt provided is indeed a "Nabheyajinstavan" attributed to Yashovijayji.

In essence, the book "Tran Sanskrit Faggu Kavyo" serves as a valuable contribution to the study of Jain devotional poetry, highlighting the evolution and adaptation of the Fagu genre by prominent Jain scholars and poets. It brings to light lesser-known or unpublished Sanskrit compositions, enriching our understanding of medieval Jain literary traditions.