Vilasvaikaha

Sadharana's Vilasavaikaha: A Comprehensive Summary

This document provides a summary of Sadharana's Vilasavaikaha, a significant Apabhramsa work of Jain literature, based on the critical edition by R. M. Shah.

1. Introduction and Editorial Method:

• Discovery and Basis of the Edition: The critical edition is based on two palm-leaf manuscripts from the Jesalmer Bhandara, cataloged as Kramanka 267-268. Photostat copies of these manuscripts, made years ago by Muni Punya Vijayji, form the primary source for this edition.
• Author's Biographical Details: The author, Siddhasenasuri, also known as Sadharana, traces his ancestry to a trading family, belonging to the Kotika gana, Vajra sakha, and Candrakula vamsa. He was a disciple of Yasodevasuri, who was in the gaccha of Yasobhadrasuri, which flourished under the guidance of Bappabhatisuri.
• Source and Composition: Sadharana composed the Vilasavaikaha at the request of Sahu Lakshmidhara of Gwalior Fort. He drew the story from the Samarac Cakaha (Bhava V) of Acarya Haribhadra (c. 750 AD). The work was completed in 1123 VS (1066 AD).
• Originality and Independence: Despite borrowing the theme from Haribhadra's work, Sadharana transformed it into an independent literary creation through additions, alterations, and elaborations. Haribhadra's work, divided into 'Bhavas' and written in mixed prose and verse in Jaina Maharashtri Prakrit, contrasts with Sadharana's Vilasavaikaha, which is in Apabhramsa, divided into 'Sandhis.' The story of Sanatkumara-Vilasa, which illustrates the consequences of 'nidana' in Samarac Cakaha, is presented as an independent 'dharmakatha' in Vilasavaikaha, highlighting the grave repercussions of 'pramada' (negligence).
• Literary Merit: Sadharana seized every opportunity for poetic descriptions, elaborations of contexts filled with rasa, and scenes adorned with poetic embellishments. The work is divided into eleven Sandhis, each further divided into numerous 'Kadavakas.'
• Importance: The study of this Apabhramsa work is significant for its literary value and for tracing the development of modern Indian regional languages.
• Editing Work: Dr. R. M. Shah's critical editing, including a Gujarati introduction and indices, earned him a Ph.D. from Gujarat University.

2. Author's Introduction (Grathakar Parichay):

• Lineage and Gaccha: The author, Siddhasenasuri, alias Sadharana, comes from the Vanijja-mula kul, Kotika gana, and Vajra sakha, with its origin attributed to Arya Vajraswami. He belonged to the lineage that traced back to Acarya Bappabhatisuri and was part of the Yasobhadrasuri-gaccha.
• Guru Parampara: His guru-parampara includes Santisuri (head of the gaccha in Mathura), Yasodeva (his disciple), and Siddhasenasuri (Sadharana himself), who acknowledges his own intellectual limitations ('jadmati') with humility.
• Previous Reputation: In his pre-monastic life, he was known as Sadharana and was famous for his numerous devotional hymns and praises, which were widely sung.
• Commissioning and Theme: He composed the Vilasavati Katha at the request of Sahu Lakshmidhara, a resident of Gwalior Fort (Gopagiri). He derived the story from Acarya Haribhadra's Samaradiccakaha.
• Date of Composition: The work was completed on a Monday in the month of Pousha, on the fourteenth day, in the year 1123 VS (1067 AD) in Dhundhukanagar (Gujarat).
• Extent: The work is estimated to contain 3,620 verses based on the Anushtubh meter.
• Poetic License and Apology: Sadharana humbly asks for forgiveness from learned readers for any additions or alterations made for the purpose of instruction.
• Other Works: Besides Vilasavaikaha, he is known to have composed the 'Sakalatirtha Stotra' (36 verses in Prakrit) and the 'Ekavimsatisthana Prakarana' (24 Tirthankaras' past lives in 66 verses, in Prakrit). The use of 'Sadharana' at the end of these works confirms his authorship.
• Life Span: Based on his known works and historical context, his life is estimated to be in the first half of the 11th century AD.

3. Synopsis of the Story (Katha Sar):

The summary then details the eleven Sandhis of the Vilasavaikaha, outlining the plot:

• Sandhi 1 (Sanatkumar-Vilasavati Union): The story begins with praise of the twenty-four Tirthankaras and the Sangha. The narrative introduces the virtuous King Yashovarman of Shvetambi and his queen Kirtimati, who give birth to Prince Sanatkumar. Prophecies foretell his future as the overlord of Vidyadhara kings. Sanatkumar, while returning from horseback riding, shows mercy to thieves, which angers the king. Displeased, Sanatkumar leaves home and reaches Tamralipti, the capital of King Ishanachandra. There, he meets and falls in love with Ishanachandra's daughter, Vilasavati, who reciprocates his feelings by throwing a garland of bakula flowers. Sanatkumar's friend Vasubhuti acts as a go-between.

• Sandhi 2 (Vinayadhara's Story): Vilasavati suffers from separation anxiety. Vasubhuti learns of her plight and devises a plan to unite her with Sanatkumar. Meanwhile, Queen Anangavati, Ishanachandra's wife, makes an improper advance towards Sanatkumar, which he rejects. Anangavati falsely accuses Sanatkumar to Ishanachandra, leading to a royal decree for his execution. The loyal city guard, Vinayadhara, is tasked with the execution. Vinayadhara, remembering a past favor from Sanatkumar's father, hesitates. After consultation with his mother and a wise astrologer, Vinayadhara decides to help Sanatkumar escape. With the help of a merchant named Samudradatta, Sanatkumar, accompanied by Vasubhuti, flees the country on a ship bound for Suvarnabhumi. Vinayadhara publicly announces Sanatkumar's execution to protect him.

• Sandhi 3 (Different Journey): Sanatkumar and Vasubhuti reach Suvarnabhumi. There, Sanatkumar unexpectedly meets his childhood friend Manorathadatta. Sanatkumar requests Manorathadatta to arrange passage to Sinhala Island to meet his maternal uncle. Manorathadatta, after some hesitation, provides Sanatkumar with a miraculous garment called 'Nayanmohana' (eye-captivator), obtained through the tantric practices of his friend Siddhasena. A storm at sea shipwrecks them, and Sanatkumar, miraculously surviving with the garment, washes ashore. He finds sustenance and reflects on the impermanence of life and the suffering of separation. He encounters a beautiful ascetic girl who is surprisingly similar to Vilasavati.

• Sandhi 4 (Vidyadhari's Story): Sanatkumar encounters an ascetic woman who reveals herself to be Madanamanjari, the daughter of King Sahasrachala of Gandhasamriddha in the Vaidatya mountain range. Her husband, Pavangati, died in an accident. After her father's friend, the Vidyadhara Devananda, persuaded her to take up asceticism, she renounced worldly life. While gathering fruits, she found a shipwrecked Vilasavati, who had also been separated from Sanatkumar after their ship was destroyed. Madanamanjari brings Vilasavati to the hermitage and recounts her story to Sanatkumar. She recognizes him as Vilasavati's beloved and offers to help reunite them.

• Sandhi 5 (Marriage and Separation): Sanatkumar is reunited with Vilasavati in the hermitage. The ascetic Madanamanjari, with the consent of the hermitage's head, performs their marriage ceremony in the presence of ascetics. After enjoying their time in a beautiful forest garden, they decide to return home. To test Vilasavati's love, Sanatkumar wears the miraculous 'Nayanmohana' garment and disappears. Distressed, Vilasavati faints. Sanatkumar retrieves her and explains the garment's origin, gifting it to her. They set sail for their homeland. During the voyage, the merchant Samudradatta, who is infatuated with Vilasavati, pushes Sanatkumar overboard. Sanatkumar survives and washes ashore, where he encounters a divine nectar-granting peak ('Manorathapurnam'). He intends to end his life but is rescued by a Vidyadhara who explains the folly of such actions.

• Sandhi 6 (Attainment of Vidyas): Sanatkumar, inspired by the Vidyadhara's words, prepares for arduous spiritual practices. He leaves Vilasavati in the care of Vasubhuti and undertakes severe austerities. He faces demonic obstacles but perseveres. The goddess Ajitabala appears and grants him extraordinary powers. Meanwhile, Vasubhuti, while searching for Vilasavati, is found by Sanatkumar and the Vidyadhara army. Vasubhuti explains that Vilasavati was abducted by the proud Vidyadhara king Angarata of Rathanoopura. Ajitabala dispatches her attendants to search for Vilasavati.

• Sandhi 7 (Defeat of Angarata and Coronation): The Vidyadhara Pavangati reports that Vilasavati is held captive by Angarata, who intends to force her into marriage. Enraged, Sanatkumar, accompanied by Vasubhuti, Ajitabala's army, and other allied kings, marches to Rathanoopura. After a fierce battle, Sanatkumar defeats Angarata's general Durmukha. In the ensuing duel, Sanatkumar defeats Angarata himself. The Vidyadharas, impressed by Sanatkumar's prowess and character, crown him as their emperor. Vilasavati becomes his queen, and Vasubhuti is appointed as his chief minister. Sanatkumar expands his empire and marries princesses from various Vidyadhara kingdoms, ultimately becoming a Chakravarti.

• Sandhi 8 (Vinayadhara's Union): Years later, while Sanatkumar is enjoying his prosperous reign, Vinayadhara arrives from Tamralipti. He recounts the events after Sanatkumar's escape: Ishanachandra's grief, Anangavati's confession of her false accusation, and the king's remorse. Vilasavati, upon hearing of Sanatkumar's supposed death, had also attempted suicide but was saved by forest deities. Vinayadhara's search for Sanatkumar led him to a tapasvi who revealed Sanatkumar's survival and instructed Vinayadhara to go to the Malaya mountain. The tapasvi had saved Sanatkumar after his shipwreck. Vinayadhara's reunion with Sanatkumar and Vilasavati allows them to return to Tamralipti and reconcile with Ishanachandra and Queen Shrngaravati. Sanatkumar then proceeds to Shvetambi, where his father, Yashovarman, rejoices and crowns him as the new king, while Sanatkumar prepares to return to his Vidyadhara kingdom.

• Sandhi 9 (Vinayadhara's Union): Sanatkumar, now Anilavega, prince of Kinneragita, arrives seeking a suitable match for his sister Chandralekha. He recounts how Chandralekha was abducted by Chittavega, son of King Ashanivega of Gandharapura. Anilavega was injured fighting Chittavega but was saved by a tapasvi who gave him divine medicine and instructed him to wait for Sanatkumar. Anilavega informs Sanatkumar of the situation. Meanwhile, Vinayadhara, after Sanatkumar's escape, had been falsely reported dead, leading to his parents' despair. He then embarked on a quest to find Sanatkumar, which led him to the same tapasvi who had aided Sanatkumar. Vinayadhara's story confirms the auspicious predictions. Sanatkumar, with his vast Vidyadhara army, prepares to rescue Chandralekha.

• Sandhi 10 (Union of Sanatkumar and Chandralekha): Sanatkumar, with his Vidyadhara allies and friends, proceeds to Kinneragita. He marries Chandralekha. Afterward, they travel to Tamralipti to reunite with Vilasavati's parents. Sanatkumar's father, Yashovarman, joins them in Shvetambi, where Sanatkumar is crowned king. The narrative then details the marriages of Sanatkumar's sons and the eventual attainment of spiritual liberation by Sanatkumar.

• Sandhi 11 (Sanatkumar's Renunciation): Sanatkumar, now a benevolent emperor, experiences detachment from worldly pleasures after hearing a sermon from the great Muni Chitrangada. He learns about his past actions, including a mistake involving swans that caused his separation from Vilasavati, and the merit that led him to his current prosperous life. Inspired by the sermon, Sanatkumar, along with Vilasavati, his father Yashovarman, and many others, embraces Jain monasticism, ultimately achieving liberation (Moksha) at Shatrunjaya mountain.

4. Similarities and Originality with Samarac Cakaha:

• Shared Core Story: The Vilasavaikaha's core narrative, particularly Sanatkumar and Vilasavati's story, is directly derived from the fifth 'Bhava' of Haribhadra's Samarac Cakaha. Sadharana acknowledges this explicitly in his preface.
• Transformations and Additions: Sadharana significantly developed the narrative, adding independent episodes and elaborating on existing ones. He transformed the original story, which focused on the results of 'nidana' (vow-taking with worldly aspirations), into a tale emphasizing the dire consequences of 'pramada' (negligence).
• Language and Structure: While Samarac Cakaha is in Prakrit and has a mixed prose-verse structure, Vilasavaikaha is entirely in Apabhramsa and poetry, divided into Sandhis and Kadavakas. Sadharana's use of melodious Apabhramsa and various meters contributes to the work's independent literary status.
• New Elements: The latter part of Vilasavaikaha, particularly Sandhis 9, 10, and 11, introduces new storylines, such as the abduction of Chandralekha and Sanatkumar's eventual spiritual realization, showcasing Sadharana's creative talent. He skillfully integrated these new elements without disrupting the flow of the original narrative.
• Poetic Embellishments: Sadharana enriched the story with vivid descriptions of nature, detailed portrayals of human emotions, and a lively depiction of societal life. He masterfully used rhetorical devices and proverbs to make the narrative engaging and didactic.

5. Evaluation as an Epic (Mahakavya):

• Epic Conventions: The work adheres to many conventions of Sanskrit and Prakrit Mahakavyas. It begins with auspicious invocations, features a noble hero, and includes descriptions of various elements like cities, oceans, mountains, seasons, battles, diplomatic missions, marriages, and the hero's rise to power.
• Structure and Meter: The division into Sandhis and Kadavakas, along with the use of diverse Apabhramsa meters and 'ghattas' (final verses), aligns with epic traditions.
• Rasa and Alankaras: The Vilasavaikaha primarily conveys the 'Shanta' (peaceful) rasa, reflecting the Jain emphasis on renunciation. However, it also effectively employs 'Veera' (heroic) rasa in battle descriptions and 'Shringara' (erotic) rasa in romantic episodes, along with touches of 'Karuna' (pathos), 'Bhibhatsa' (disgust), and 'Raudra' (anger). The work is rich in 'shabd alankaras' (sound-based figures of speech) like alliteration and 'anupras,' and 'artha alankaras' (meaning-based figures of speech) like similes and metaphors, demonstrating Sadharana's poetic skill.

6. Precedent Traditions of the Narratives:

• Influence of Indian Storytelling: The Vilasavaikaha draws upon a rich tapestry of Indian narrative traditions, including those found in Jain Agama literature, Sanskrit epics like the Ramayana and Mahabharata, and the works of classical Sanskrit poets.
• Familiar Motifs: The story incorporates several familiar motifs:
  • Unwanted Romantic Advances: The episode of Queen Anangavati's advances towards Sanatkumar, her subsequent false accusation, and the ensuing conflict is a recurring theme in Indian literature, found in Vedic hymns (Yama-Yami, Indra-Vrishakapi), the Mahabharata (Urvashi-Arjuna), and Buddhist Jatakas (Samiddhi Jataka, Bandhanamoksha Jataka, Mahapadma Jataka).
  • Heroic Escape and Wandering: Sanatkumar's escape and subsequent journey echo tales of heroes facing adversity.
  • Asceticism and Mystical Garments: The encounter with Madanamanjari and the 'Nayanmohana' garment is reminiscent of Puranic and folk tales.
  • Loyal Friends and Helpful Incidents: The presence of loyal friends like Vasubhuti and helpful supernatural beings like forest deities is a common narrative element.
  • Rape and Rescue: The story of Chandralekha's abduction by Angarata and her rescue by Sanatkumar mirrors the Ramayana's Sita-Ravana episode, with Pavangati serving as a Hanuman-like figure.
  • Chakravarti Sanatkumar: Sanatkumar's eventual conquest and emperorship align with the Jain legend of Chakravarti Sanatkumar, one of the twenty-four principal figures in Jain tradition.
  • Asceticism in Nature: The descriptions of Vilasavati and Madanamanjari living in hermitages after their trials evoke scenes from Kalidasa's Shakuntala.
  • Suicide Attempts and Rescue: Vilasavati's attempted suicide by hanging and her rescue by forest deities are similar to events in Sri Harsha's Ratnavali.
  • Manorathapurnam Peak: The miraculous peak granting wishes finds parallels in Somadeva's Kathasaritsagara.
  • The Madhubindu Story: The elaborate and symbolic 'Madhubindu' parable, used by Sadharana to illustrate the illusory nature of worldly pleasures, has ancient roots in Buddhist and Jain traditions and even appears in Hindu literature, highlighting its widespread appeal and cross-cultural transmission.

7. Other Works with Similar Titles:

• Vilasavati by Devachandra Gani: A Sanskrit play by this name, with a similar theme, exists, with a partial manuscript found at the LD Institute of Indology, Ahmedabad.
• Vilasavati Katha by Lakshmidhara: A mention of a 'Vilasavati Katha' by Lakshmidhara in the Jesalmer Bhandara is noted, but it's believed to be a misattribution based on a misunderstanding of Sadharana's preface.
• Other Mentions: References to other works titled 'Vilasavati Katha' in Sanskrit and Prakrit are noted, though their content and authorship remain largely unknown or unclear.

8. Depiction of Society:

• Political Context: While lacking direct references to the Solanki dynasty ruling Gujarat at the time, the narrative depicts traditional political structures, including the importance of royal decrees, espionage, and the loyalty (and sometimes betrayal) of subjects.
• Urban Life: Cities are described as prosperous, with bustling markets, celebratory decorations, and a vibrant social life, especially during festivals like Vasant (spring).
• Social Hierarchy: The descriptions suggest a clear social hierarchy, with kings, nobles, merchants, and servants. The limited mention of 'barbarika' (foreign female servants) provides a glimpse of cultural interactions.
• Marriage Customs: The elaborate marriage descriptions offer insights into the rituals and customs of the time, including dowry, celebratory processions, and traditional ceremonies. Many of these practices are still prevalent in Gujarat.
• Arts and Entertainment: Music (veena, drums, trumpets), dance, storytelling, and riddles were popular forms of entertainment.
• Religious Beliefs: The society was religious, with widespread worship of various deities. The narrative implicitly critiques the laxity of certain religious practices, particularly those associated with Shaivism, while highlighting the growing influence of Jainism. The importance of astrology, omens, and prophecies is evident throughout the story.
• Food and Cuisine: The detailed descriptions of feasts reveal a rich culinary tradition with numerous sweets, savory dishes, and preparations, many of which remain popular in Gujarati cuisine.
• Valour and Warfare: The descriptions of battles and weaponry portray a society where martial valor was highly esteemed.

9. Language and Grammar:

• Naigar Apabhramsa: The language used is classified as Naigar Apabhramsa, the literary form of the language prevalent in Western India during that era.
• Linguistic Features: The summary details specific phonetic changes (e.g., 'n' to 'ṇ'), the use of 'y' shruti, vowel and consonant shifts, verb conjugations, and case endings, highlighting the unique characteristics of this Apabhramsa dialect.
• Prakrit Influence: The language shows a strong influence of Prakrit, particularly due to its source material, the Samarac Cakaha.
• Idioms and Proverbs: The text is rich with contemporary idioms, proverbs, and aphor9isms, many of which are still in use in Gujarati, providing valuable insights into the linguistic heritage.

10. Versification and Structure:

• Sandhis and Kadavakas: The work is divided into 11 Sandhis, further broken down into 327 Kadavakas.
• Variety of Meters: Sadharana skillfully employs a range of Apabhramsa meters, including 'Paddhadia,' 'Vadanaka,' 'Madanavartora,' 'Padakulaka,' and others, demonstrating his mastery over the poetic forms.
• Rhyme and Rhythm: The consistent use of rhyme ('anupras') at the end of verses ('ghattas') and the presence of introductory 'dhruvakas' (refrains) contribute to the work's musicality.
• Poetic Devices: The author effectively uses metaphors, similes, and other figures of speech to enhance the narrative's beauty and impact.

11. Conclusion:

Vilasavaikaha stands as a testament to Sadharana's poetic genius and his skill in adapting and enriching a classic Jain narrative. Its literary merit, linguistic significance, and moral teachings make it a valuable contribution to Apabhramsa literature and Jain studies. The detailed summary provides a comprehensive overview of the plot, the author's background, the work's historical and linguistic importance, and its place within the broader Indian literary tradition.