Virahani No Ek Anubhav Vishesh

Here is a comprehensive summary of the Jain text "Virahani no Ek Anubhav Vishesh" by Hiraben R Pathak:

The article "Virahani no Ek Anubhav Vishesh" (A Specific Experiential Aspect of the Separated Woman) by Hiraben R Pathak delves into the rich tradition of Indian literature that portrays the pangs of separation (viraha) experienced by women (virahini), particularly focusing on a specific aspect: the experiences related to the hands.

The author begins by highlighting the vast and continuous tradition of shringara rasa (the erotic sentiment) in Indian poetry, spanning Sanskrit, Prakrit, Apabhramsha, and early Gujarati literature. This tradition, she notes, exhibits a remarkable uniformity in the portrayal of emotions and their expressions (anubhavas), reflecting a unique stamp of Indian culture. Modern shringara literature, influenced by Western and other forces, has a distinct character.

Pathak clarifies that due to the sheer volume of literature on viraha, the article will focus on a specific, distinct element. This element is the anubhavas (expressions) related to the hands of the virahini, drawing upon Sanskrit poetry as a foundation for understanding regional literary traditions.

She then introduces Bharata's classification of heroines based on their emotional states in separation, such as vasasajjika, virahotkanthita, svadhinpatika, kalahantarita, khandita, vipralabdha, proshitabhartruka, and * abhisarika*. Pathak mentions that later scholars expanded upon these categories and their classifications. She notes that Bharata's classification is based on the heroines' ratibhava (feeling of love) in relation to the hero.

The author explains that while the article will primarily focus on virahotkanthita (one who eagerly awaits the return of her beloved) and proshitabhartruka (one whose husband has gone abroad), the themes might encompass vipralabdha (one deceived by her lover) and other heroines. This is because the depiction of the Gopis in Indian literature, often with Krishna as the hero, sometimes aligns with vipralabdha or khandita (one whose beloved has gone to another). She elaborates on the nuanced differences: vipralabdha is deprived due to the lover's absence; khandita experiences separation and resentment when the beloved returns after being with someone else; and kalahantarita feels regret after being insulted by her husband. The common thread is viraha, with variations in its cause, duration, and intensity.

Pathak acknowledges that some examples might be aphorisms or duhas (couplets) presented without context, making it difficult to definitively categorize the heroine. Therefore, she narrows the focus to cases where both the hero and heroine are in love and mutually affectionate, but external circumstances cause their separation. In this context, virahotkanthita and proshitabhartruka are deemed most relevant.

She provides Bharata's definition of virahotkanthita: "She whose beloved does not come due to being engaged in many tasks, and who is afflicted by the sorrow arising from this, is considered virahotkanthita." She then contrasts this with Vishvanatha's definition in Sahityadarpan, which adds that the beloved is unable to come due to fate or divine intervention, making the heroine's suffering more pronounced.

The article then presents Bharata's definition of proshitabhartruka: "She whose beloved has gone on a journey for an important task and whose hair has become rough and unkempt (without care) is proshitabhartruka." Vishvanatha's definition emphasizes the heroine's suffering from love-sickness due to her husband going to a distant land for various tasks. Bhanudatta and Matiram's interpretations are also mentioned, highlighting the common theme of the husband's absence causing the heroine distress.

Pathak observes that these classifications of heroines, originating with Bharata, have been continued by later scholars like Vishvanatha and in the Dasharupa.

The core of the article then shifts to the specific anubhavas (expressions) related to the hands. These are described as the manifest actions and manifestations resulting from the virahini's physical, mental, and sartorial (attire-related) expressions of sorrow. She specifically focuses on the hands and their parts: arms, elbows, wrists, palms, and fingers. The condition, arrangement, and actions of these parts are indicators of the heroine's state of separation.

The author then presents several examples from Sanskrit literature:

• The falling bangles: A common motif illustrating the heroine's emaciation due to separation. The example from Kavyaprakasha describes bangles slipping off the wrists as the heroine grows thinner. This visual emphasizes the physical toll of viraha.
• The bangle on the upper arm: An instance from Subhashitaratnabhandagaram describes a bangle on the upper arm that has slipped down to the wrist, indicating extreme emaciation, so much so that one cannot feel the pulse. This is presented as an example of hyperbole and personification.
• Hands touching the face: Another example depicts the heroine resting her face on her hand, adorned with a bangle made of lotus stems, while asking another woman whom she remembers.
• Avoiding ornaments: A verse describes the heroine not touching ornaments like necklaces or rings, even when they are on her body.
• Embracing oneself: A vivid description of a separated woman repeatedly embracing, looking at, and kissing her own arm, signifying her longing and desire for her beloved.
• Shielding from moonlight: A slender woman, seeking rest in the shade of trees, uses her upper garment to ward off moonlight with her hands, indicating her distress from the cool rays.
• Rejecting gifts: A verse illustrates the heroine's sensitivity and aversion to touch; fearing the sound of lotus leaves offered by her mother-in-law, she accepts them only by touching the ground with her forehead.
• Counting days: The article highlights the practice of marking days of separation on the wall or counting them with flowers. An example from Meghaduta shows the Yaksha's wife counting the remaining months of separation by placing flowers on the doorstep. Another example mentions her drawing her own emaciated figure.
• Forgetting to count: A verse depicts a woman whose forehead is washed by tears but who refrains from counting the marked days, fearing that the period of separation might pass.
• Sisters erasing marks: A Prakrit Gatha describes sisters secretly erasing a few marks on the wall, fearing that their beloved might not return even after the days of separation are over.
• Protecting marks from rain: Another Prakrit Gatha portrays a woman protecting the marks on the wall from rainwater entering through a hole in the roof caused by a storm, emphasizing her deep affection and concern for her absent husband. This vividly illustrates her desolate state during a stormy night.
• Repetitive counting: A Prakrit Gatha describes the heroine repeatedly saying "Today is gone" and drawing lines on the wall even before half the day has passed, showing the intensity of her longing and the fresh pain of separation.
• Worn-out fingers: An Apabhramsha duha from Hemachandra's grammar describes the heroine's fingers becoming worn out from counting the days given to her by her beloved before his departure. This sentiment is echoed in Meera Bai's bhajans.
• The melting bangle: An Apabhramsha duha warns a maiden that her bangle, heated by her sigh of passion and moistened by tears, will melt into powder.
• The crow's aversion: A Prakrit Gatha describes a crow hesitating to eat a food offering because it fell from the hand of a woman whose bangles had slipped off, suggesting the divine displeasure or the intense sorrow affecting even inanimate objects.
• Sorrow affecting the mother-in-law: A Gatha describes a proshitapatika (a type of heroine) whose bangles slip off as she bows to her mother-in-law, bringing tears to the eyes of the habitually stern mother-in-law.
• The vast bangle: A beautiful duha from Sandeshurasak describes the heroine's emaciation so severe that both her hands fit into a single bangle.
• The finger ring fitting the arm: Another duha from the same work illustrates the extreme thinness where a ring meant for the little finger now fits the entire arm.
• Meera's comparison: A bhajan by Meera Bai is cited where the emaciation is so profound that her finger ring fits her arm.
• Krishna's little finger: A song about Radha and Krishna's separation is quoted where Radha's ten fingers fit into Krishna's little finger's ring, highlighting the extreme emaciation and the intensity of viraha.
• Letter writing: The article concludes by mentioning the act of letter writing as a significant hand-related anubhava. It refers to Shakuntala's letter on a lotus leaf in Abhijnanashakuntalam and Meera Bai's mention of writing letters. A previously unpublished bhajan by Meera Bai is presented, where her hand trembles as she tries to write, and her heart quivers. The author concludes that even with limited literacy in ancient times, letter writing can be considered a natural hand-related experience for a separated woman.

In the concluding section, Pathak summarizes the diverse hand-related anubhavas observed in the literature, including sorrow, emaciation, neglect of ornaments, aversion to worldly pleasures, eagerness for reunion, counting of days, fear of separation, disregard for objects that worsen separation, sending messages, hallucinations of the beloved, and the various ways these are expressed.

She argues that this richness of emotion explains the prominence of shringara rasa in Indian aesthetics, and particularly the emphasis on viraha, which, through the sharp edge of intense longing and continuous suffering, produces powerful poetic expressions. From a psychological perspective, love gains dignity through the medium of pain caused by obstruction. The intensity of emotion and its penetration into the subtle nuances are as significant as the elaborate descriptions of the inner turmoil, physical agitation, weakness, mental anguish, grief, pain, and suffering. The text also mentions the ten or eleven stages of separation (like longing, anxiety, memory, recounting qualities, agitation, incoherent speech, madness, illness, stupor, death, and swooning) and the impact of seasons.

The author then poses a question regarding the classification of heroines, suggesting that while Bharata's eight types are foundational, later classifications like svakiya, parakiya, and samanya have been applied to them. She questions whether these classifications can always be applied consistently and harmoniously. She specifically examines the definitions of proshitabhartruka by Bharata and Vishvanatha, noting that Vishvanatha's use of "husband" strongly implies a married woman (svakiya). She questions how a proshitabhartruka could be categorized as parakiya or samanya without creating inconsistencies, suggesting that such a blend might lead to a diluted or "aesthetic semblance" (rasabhasa) rather than pure shringara rasa. She references the moral underpinnings of Indian aesthetics, where inappropriate expressions of love, including those involving women with multiple lovers or improper relationships, are considered rasabhasa.

Pathak also points out that scriptures like the Yajnavalkya Smriti offer guidelines for the conduct of a proshitabhartruka, advising her to abstain from activities like sports, body decoration, attending gatherings, laughing, and visiting other houses. This, she suggests, aligns with the psychological reality of a woman deeply affected by her husband's absence.

Finally, she emphasizes that while literature and scholarship attempt to categorize human emotions and experiences, the ever-changing nature of human psychology makes rigid classifications challenging. However, she concludes that the tender emotion (sukumar bhav) of viraha presented in the article provides aesthetic pleasure and highlights the value of literary criticism in bringing forth beautiful passages for appreciation. She expresses gratitude to those who assisted her in gathering references.