Vikrantkauravam - Book Summary

Here's a comprehensive summary of the provided Jain text, "Vikrantkauravam," based on the scanned pages:

Title: Vikrantkauravam Subtitle: Sulochanaaparnaamnam Natakam (A play named Sulochanaaparna) Author: Ubbaya Bhasha Kavichakravarti Sri Hastimalla Virachitam (Composed by Sri Hastimalla, the emperor of poets in both languages) Editor/Researched by: Padhamanaavaasi Pandit Manoharlal Shastri (Researched by Pandit Manoharlal Shastri of Padhamana) Publisher: Manikchand Digambar Jain Granthamala Samiti (Manikchand Digambar Jain Granthamala Committee) Publication Details: Third Pushp (Third Flower/Publication) Date: Phalgun, Vir Samvat 2442 / Vikram Samvat 1972 (February-March 1916 CE)

Summary of the Prastavana (Introduction):

The introduction focuses on the biographical details of the poet Hastimalla, the author of "Vikrantkauravam."

Lineage and Identity: Hastimalla was the son of Govinda Bhatta, a learned scholar from the South. Govinda Bhatta was initially a Brahmin who later converted to Jainism after studying the Devagama Sutra by Bhagvat Samantabhadra.
Author's Self-Reference: In the play itself (Act 1, Prologue), Hastimalla is quoted by the Sutradhar (stage manager) as "Saraswati Swayamvaravallabhaena Bharata Govindaswami sununa Hastimallenaamna Mahakavitallajena virachitam Vikrantakauravam naam roopakamiti" (This dramatic play named Vikrantakauravam, composed by Hastimalla, the great poet and son of the revered Govindaswami, dear to Saraswati herself).
Scholarly Tradition: Hastimalla's lineage is placed within the esteemed tradition of Jain scholars, mentioning the lineage of great Acharyas like Virasena, Jinasena, and Gunabhadra.
Family: Govinda Bhatta, residing in the South, had six sons who were all poets and scholars, obtained through the grace of the deity Swarnaykshi. The sons are named: Shrikumar, Satyavakya, Devaravallabha, Udayabhushana, Hastimalla, and Vardhamana.
Siblings' Works: Hastimalla's elder brother, Satyavakya, is known for works like "Shrimateekalyana," but none of his works are currently available. Shrikumar is credited with a short work called "Atmabodhakhyo," located in a library.
Disciples and Successors: Hastimalla had disciples like Lokpalarya and sons like Parshva Pandit.
Distinguishing Hastimalla from Vardhamana: The introduction clarifies that Hastimalla's brother Vardhamana, often confused with the author of "Ganaratnamahodadhi," is distinct. The author of "Ganaratnamahodadhi" was a Shvetambara Jain, lived about 150 years before Hastimalla, and was a disciple of Govinda Suri (not Govinda Bhatta's son). This distinction is made based on evidence like the former's use of Shvetambara examples and praise.
Hastimalla's Titles and Reputation: Hastimalla was highly acclaimed, earning titles like "Saraswati Swayamvaravallabha" and "Mahakavitallaja." His elder brother also referred to him as "Kavitasamrajyalakshmipati" (Lord of the Empire of Poetry).
Real Name vs. Epithet: The name "Hastimalla" might have been an epithet derived from an incident where he pacified a maddened elephant ("madamatta hastino mado durikritaḥ"). He was also known as "Hasti-mo."
Patronage and Residence: A verse indicates Hastimalla was honored by the Pandya king after a victory in an elephant fight, and he resided with his relatives in the Pandya country. The Pandya king's reign likely began around 1307 Vikram Samvat.
Dating Hastimalla: The text suggests Hastimalla lived around E.S. 1290 (1347 Vikram Samvat), based on Ayya Parya's "Jinenndra Kalyana-bhyudaya" written in 1376 Vikram Samvat, which mentions Hastimalla.
Married Life: Hastimalla was a householder ("Grihasthasmi") rather than an ascetic, as supported by a verse from Nemichandra's "Pratishtatilaka."
Other Works: Besides "Vikrantkauravam," Hastimalla authored "Maithilikalayana," "Subhadraharana," and "Anjanapavananjaya." He is also believed to have written an "Adipurana" or "Purucharitam."
Multilingual Poet: Hastimalla was proficient in Sanskrit and Kannada, earning the title "Ubhayabhasha Kavichakravarti" (Emperor of poets in both languages).

Summary of the Play's Content (Acts 1-6):

The provided text includes the full text of Acts 1 through 6 of the play "Vikrantkauravam." While a detailed plot summary is extensive, here are the key elements and themes:

Prologue (Prastavana): Introduces the play, the Sutradhar, and the context of the performance. It sets a vibrant spring atmosphere and mentions the upcoming Suolochana Swayamvara (Swayamvara of Sulochana), with the Kaurava king heading to Varanasi for it. The character of Visharada, a friend of the Kaurava king, is introduced.
Act 1: Visharada describes the encampment of the Kaurava army and the sights and sounds of spring. He encounters Nandavarta, a confidante of the Kaurava king, and they discuss the king's infatuation with Sulochana, the princess of Kashi, whom the Kaurava king saw during a city procession. The king is deeply smitten and behaves erratically.
Act 2: Focuses on the morning after the king's encounter with Sulochana. The king is consumed by thoughts of her. Nandavarta and Visharada discuss the king's state. The setting shifts to the Ganga riverbank, where the king is expected to meet Sulochana again for a ritual bath. The arrival of various kings for the Swayamvara is mentioned.
Act 3: Depicts the arrival of numerous kings for Sulochana's Swayamvara in Varanasi. The city is elaborately decorated. The play highlights the competitive spirit and pride of the kings, showcasing their diverse armies and the political maneuvering involved. The character of Vita (a jester/entertainer) provides commentary on the city's prosperity and the courtesans' allure. The king's continued infatuation and anxiety are evident.
Act 4: This act details the complex political landscape and the fierce rivalry among the kings vying for Sulochana's hand. It describes the challenges and disputes that arise, particularly between the Kaurava and Paurava (Arkeerthi) factions. The prowess of various kings and their armies is showcased through battle sequences and dialogues, emphasizing the themes of pride, honor, and the desire for victory. The conflict escalates with threats and challenges exchanged between the kings.
Act 5: The focus shifts to the emotional turmoil and longing of the Kaurava king (Meghashvara) for Sulochana, even amidst the preparations for the Swayamvara. The king expresses his deep affection and anxiety, while his friends Nandavarta and Visharada try to comfort him. The beauty of the spring season and the Kashi princess's grace are described, highlighting the king's obsession. The act also involves discussions about the ongoing political alliances and rivalries among the kings.
Act 6: This act portrays the final preparations for the Swayamvara and the arrival of the Kaurava king, Meghashvara, at the royal court. The magnificence of the event and the guests is described. The king's father, Somaprabha, offers blessings and advice to his son. The act concludes with the auspicious beginning of the wedding ceremony, with the Kaurava king preparing to place the garland on Sulochana, fulfilling the purpose of the play.

Overall Themes:

Love and Infatuation: The central theme is the Kaurava king's overwhelming love and infatuation for Sulochana.
Swayamvara and Marriage: The play revolves around the context of a Swayamvara and the ensuing political and personal dramas.
Rivalry and Politics: The text showcases the political rivalries between various kingdoms and kings, vying for power and prestige, especially through the marriage alliance.
Pride and Honor: Themes of personal pride, honor, and the consequences of arrogance are prevalent among the characters.
Art and Aesthetics: The play utilizes rich descriptions of nature, beauty, and poetic language, reflecting its literary merit.
Jain Values (Implicit): While the play's plot is secular, the underlying Jain context and the author's background suggest an appreciation for wisdom, virtue, and righteous conduct, even within a dramatic narrative.

This summary provides a foundational understanding of the "Vikrantkauravam," its author, and the general progression of its narrative as depicted in the provided scanned pages.