Yadusundara Mahakavya - Book Summary

This is a comprehensive summary of the Jain text "Yadusundara Mahakavya" authored by Padmasundara and edited by D. P. Raval, published by L. D. Indology, Ahmedabad. The summary is based on the provided pages of the text, including the editorial, introduction, and portions of the epic itself.

Overall Information about the Text:

Title: Yadusundara Mahakavya (यदुसुन्दर महाकाव्य)
Author: Padmasundara Suri (पद्मसुन्दर सूरि)
Editor: D. P. Raval (डी. पी. रावल)
Publisher: L. D. Institute of Indology, Ahmedabad (ला. द. भारतीय संस्कृति विद्यामंदिर, अहमदाबाद)
Publication Date: First Edition, August 1987
L. D. Series: 105
Financial Assistance: Government of India, Ministry of Education & Culture, Department of Education.
Content: A Sanskrit epic poem divided into 12 sargas (cantos).
Subject Matter: The epic narrates the love story and marriage of Vasudeva and Kanakavati. This narrative is also found in "Vasudevahindi" and the "Triṣaṣṭiśalākāpuruṣacarita."
Significance: The publication is seen as a significant contribution to Sanskrit literature, especially for scholars and students of Sanskrit. The editor, D. P. Raval, received a Ph.D. from Saurashtra University for his meticulous editing of this work.

Key Figures and Background:

Kavi Padmasundara: A renowned scholar-poet in the court of Mughal Emperor Akbar. He was a prominent figure among the 33 Hindu scholars in Akbar's assembly. Padmasundara was a follower of the Shvetambara sect of Jainism and a disciple of Padmeru, who was himself a disciple of Anandameru. He was honored by Emperor Akbar with gifts and titles for his scholarship and debates. Padmasundara was a contemporary of Rayamalla and Maldeva of Jodhpur, placing his active period in the 16th century CE, likely between 1520 and 1580 CE. He authored numerous works in Sanskrit and Prakrit across various disciplines.
Vasudeva: The protagonist of the epic, a descendant of the Yadu dynasty. He is depicted as a virtuous, heroic, generous, learned, and fortunate individual. He is the father of Lord Krishna.
Kanakavati: The heroine, daughter of King Harishchandra of Peethalaya. She is described as exceptionally beautiful, intelligent, and virtuous.
Chandratapa: A Vidyadhara (celestial being) and Vasudeva's close friend. He plays a crucial role in facilitating the union of Vasudeva and Kanakavati.
Kubera: The Yaksha king, who seeks Vasudeva's help for his own courtship.
Harishchandra: King of Peethalaya and Kanakavati's father.

Synopsis of the Sargas (Cantos) as Described in the Introduction:

Sarga 1: Vasudeva Prasthana (Arrival of Vasudeva):
- Begins with an invocation to the supreme spiritual entity.
- Describes the city of Mathura, a sacred and prosperous city, highlighting its beauty, the charm of its women, and the grandeur of its palaces.
- Traces the lineage of the Yadu dynasty, culminating in Vasudeva's father, Vasudeva.
- Depicts Vasudeva's captivating beauty and the amorous reactions of the women of Mathura, leading to a complaint from the citizens to King Samudra (Vasudeva's elder brother).
- Vasudeva, advised by his brother to focus on studies, leaves Mathura and travels to the city of Vidyadharas, asserting his Kshatriya pride.
Sarga 2: Chandratapa Sangamana (Meeting Chandratapa):
- Describes the Vidyadhara city with its palaces adorned with celestial jewels and the use of illusions ( bhrantiman alankar).
- Highlights the effect of Vasudeva's beauty on the Vidyadhara maidens.
- Vasudeva befriends Chandratapa, a Vidyadhara knowledgeable in celestial arts (khagavidya).
- Vasudeva engages in romantic encounters and practices the science of love (kama shastra).
- Chandratapa, in the form of a swan, visits Kanakavati, describes Vasudeva's virtues, and shows her his portrait, instilling love for Vasudeva in her heart.
- Kanakavati becomes consumed by her love for Vasudeva.
- Chandratapa conveys Kanakavati's message to Vasudeva, who also experiences intense longing.
- Vasudeva achieves a state of union with Kanakavati in their thoughts, experiencing the highest form of liberation (sayujya mukti).
Sarga 3: Vasudeva-Kanaka Anulapa (Dialogue between Vasudeva and Kanakavati):
- Focuses on Kanakavati's state of distress and longing in separation from Vasudeva.
- Her friends try to console her with traditional remedies like sandalwood and cool water.
- Vasudeva, with Chandratapa, arrives at Kanakavati's city.
- Kanakavati's father welcomes them.
- In the royal garden, Vasudeva experiences romantic visions.
- Kubera arrives and humbly requests Vasudeva's assistance in winning Kanakavati's heart.
- Vasudeva accepts Kubera's request and is given a special magical power to remain unseen by others.
- Vasudeva enters Kanakavati's palace and describes the opulent interiors.
- The first meeting between Vasudeva and Kanakavati takes place, leading to mutual affection.
- Vasudeva, acting as Kubera's messenger, praises Kanakavati's qualities to her and suggests she marry Kubera for divine status.
- Kanakavati, however, is unwavering in her love for Vasudeva and rejects the proposal, expressing her devotion solely to Vasudeva.
- Vasudeva, overcome by love, abandons his messenger role and consoles Kanakavati.
Sarga 4: Kanakavati Swayamvara (Kanakavati's Choice of Husband):
- Describes the grand self-choice ceremony (swayamvara) of Kanakavati.
- Princes from various lands, adorned in rich attire and competitive in spirit, arrive with their armies.
- Kubera also arrives, disguised as Vasudeva with a magical ring.
- The city is filled with kings, princes, and their retinues, making it resemble heaven.
- The princes are presented with portraits of Kanakavati, which greatly excite them.
- Kanakavati enters the swayamvara hall, and her beauty is described in detail.
- Her friends introduce the gods, but Kanakavati's heart is set on Vasudeva.
- Various kings are praised, but Kanakavati's gaze is only for Vasudeva.
Sarga 5: Mudrita Nrupa Kumuda (The Princes' Ordeal):
- Continues the description of the princes at the swayamvara, detailing kings from Pandya, Kalinga, Nepal, and Malaya.
- Kanakavati's eyes continue to search for Vasudeva.
- Kubera is described, followed by a detailed description of Vasudeva, highlighting his virtues, youthfulness, and romantic nature.
- Although resembling Kubera, Vasudeva's human traits (sweat, a wilting flower garland) are observed.
- Kanakavati, recognizing Vasudeva, prays to the "true Kubera" to become his.
- Vasudeva, revealing his true form by removing the ring, is recognized by Kanakavati.
- Kanakavati garlands Vasudeva, declaring him her chosen husband.
- Joy erupts in the city, and the other kings are dismayed.
- The princes and kings depart.
Sarga 6: Vasudeva Varana (Vasudeva's Selection):
- Describes Vasudeva's return to his palace, accompanied by bards praising him.
- King Harishchandra prepares for the auspicious wedding, consulting astrologers for a propitious time.
- The queen oversees the preparations.
- Detailed descriptions of the preparations, Kanakavati's bath, and her adornment are provided.
- Vasudeva prepares for the wedding, mounting a chariot drawn by seven horses.
- The streets are filled with onlookers eager to see Vasudeva.
Sarga 7: Vara Alankara (Adornment of the Groom):
- Describes Vasudeva's journey to the royal palace, being praised by bards and rewarded with wealth.
- King Harishchandra instructs his queen to prepare for the wedding.
- Astrologers determine the auspicious time for the wedding.
- The arrival of the groom's party is eagerly awaited.
- The bride's adornment is described: her bath, the application of scents, and her radiant beauty.
- Vasudeva is also adorned for the wedding and sets out in his chariot.
- The women of Mathura are captivated by Vasudeva's appearance.
Sarga 8: Vasudeva Parinaya (Vasudeva's Wedding):
- Describes the arrival of princes in Vasudeva's wedding procession, adorned in costly attire.
- Vasudeva's beauty and the royal guests are depicted at their peak.
- Kanakavati's father welcomes and embraces Vasudeva, giving away his daughter with joy, comparing it to the Himalayas giving Gauri or the ocean giving Lakshmi.
- The wedding ceremony takes place, and all are honored with gifts.
- After a few days, the wedding procession returns home.
- Kanakavati is seated in the chariot by Vasudeva.
- Vasudeva accompanies her family and army for a short distance.
- The farewell is described with a mix of pathos and peace.
- The father advises Kanakavati to consider Vasudeva as her everything and to serve him with devotion.
- The canto is rich in various poetic figures like utpreksha, atishayokti, rupaka, ashis, shlesha, and sukshma.
Sarga 9: Vana Vihara Varnana (Description of Forest Excursion):
- Describes Vasudeva and Kanakavati enjoying a forest excursion on their way back to Mathura.
- Their harmonious beauty as a couple is highlighted.
- Vasudeva shows Kanakavati various natural scenes, including pairs of swans, geese, chakravaka birds, and peacocks.
- The canto also presents a sequence of seasonal descriptions, starting from spring and ending with winter. The descriptions are noted as beautiful, accurate, varied, and pleasing.
Sarga 10: Vijaya Shri Varana (Conquest of Victory):
- Vasudeva and Kanakavati are heading to Mathura. They stop outside Arishtapura.
- They engage in a ritualistic circumambulation of the city (nagaracharya).
- The epic describes the romantic endeavors of the assembled kings.
- Using his magical powers, Vasudeva disguised himself and entered the swayamvara hall again.
- This time, the bride was Rohini. As Rohini entered with a garland, the kings were captivated.
- Rohini's friend described various kings, but Rohini was not pleased.
- Like a creeper near the moon, Rohini becomes happy upon seeing the radiant Vasudeva and chooses him as her husband.
- The kings, realizing Vasudeva had changed his form, protest, leading to a gathering of armies and a fierce battle.
- After defeating all opponents, Vasudeva is showered with flowers.
- A sorcerer attempts to mock a Kshatriya's fame, leading to further conflict.
- The canto concludes with Vasudeva marrying many other maidens and continuing his journey towards Mathura.
Sarga 11: Kanaka Nidhuvana (Consummation with Kanaka):
- This entire canto is dedicated to describing the conjugal bliss and romantic union of Vasudeva and Kanakavati.
- The poem details the actions of the hero and the reactions of the heroine.
- It depicts intimate love-making within the inner chambers, followed by romantic excursions in the forest gardens.
Sarga 12: Sandhyopashloka Mangala Gana (Evening Hymn and Auspicious Song):
- This final canto features long, emotionally charged descriptions.
- It shows the union of human emotions with nature.
- Descriptions of twilight, darkness, and the moon, along with human activities in nature, are presented.
- Various emotions and sentiments are depicted.
- The morning scene and the songs of the bards are also included.
- The epic concludes with an auspicious song, spanning 1064 shlokas.

Poetic Features:

The epic adheres to the classical definitions of a Mahakavya, being divided into sargas, with each canto having a specific title related to its content.
There is a shift in meter at the end of each canto, and the end of a canto often hints at the events of the next.
The poem commences with an invocation to the "form of consciousness."
The narrative is mythological, drawing from the well-known story of Vasudeva.
The descriptions are rich in poetic figures (alankaras) and emotions (rasas).
The structure includes the five "economic divisions" (arthaprakriti) and the five "stages of action" (karyavastha), along with the five "sections" (sandhi).
Dialogues enhance the narrative's interest.
The principal rasa is Shringara (love), but other rasas like Hasya (humor), Karuna (pathos), Vira (heroism), and Raudra (anger) are also skillfully portrayed.
The poem includes praise for the virtuous and criticism of the wicked.
The title "Yadusundara" is derived from the hero's name and the subject matter.

This summary provides a detailed overview of the "Yadusundara Mahakavya," its author, its epic scope, and the specific narrative elements presented in the introductory sections.